I am always interested in watching Jim Mezon, and his performance as Mark Rothko was very strong. he talked, he raged and he ranted. And he painted. he drank and he smoked and he talked. It was exhausting to watch, but fascinating.
David Coomber, who played Ken is definitely an actor to watch. Only a year out of theatre school, he carried the part with the right mixture of awe and bravado.
we left feeling as though we had been at an art lecture, but still with no real understanding of what makes an artist tick or why some art is great.
Tuesday, December 20, 2011
The Children's Republic
another excellent play by Hannah Moscovitch. Peter Hutt and Kelli Fox were the only names we knew, since all the other actors were very young, playing the children in the orphanage.
the play is based on a true story, of children protected for a while in Warsaw by Janusz Korczak. Peter Hutt , who often plays Peter Hutt, was wonderful in this role. At times funny, principled and pragmatic, he rescues the children, feeds them and tries to keep them alive in the ghetto.
Mark Correia, who plays Israel, was particularly noteworthy - he managed to convey so much with every shrug of his shoulders.
It is a depressing play, but well worth seeing. the staging was so effective at the end when the children and the adults all march off tomdeath.
the play is based on a true story, of children protected for a while in Warsaw by Janusz Korczak. Peter Hutt , who often plays Peter Hutt, was wonderful in this role. At times funny, principled and pragmatic, he rescues the children, feeds them and tries to keep them alive in the ghetto.
Mark Correia, who plays Israel, was particularly noteworthy - he managed to convey so much with every shrug of his shoulders.
It is a depressing play, but well worth seeing. the staging was so effective at the end when the children and the adults all march off tomdeath.
The Rez Sisters
We saw Dry Lips Oughta Move to Kapuskasing many years ago, and thought it was excellent.Somehow we managed to miss this play, which was written around the same time and wondered whether it would hold up to the passage of time.It certainly does.
This production used a color blind cast, which might have been a problem if the cast or the direction had been weaker. but the cast, regardless of race, was uniformly excellent. I list them below, so I can remember the cast and the characters. Zhaboonigan Peterson - Cara Gee, Philomena Moosetail - Kyra Harper, Annie Cook - Djennie Laguerre, Pelajia Patchnose - Jani Lauzon, Nanabush - Billy Merasty, Marie-Adele Starblanket, Emily Dictionary - Michaeal Washburn, Weronique St Pierre - Jean Yoon.
The story is universal - a message that is probably stronger with a mixed cast than if it were an all aboriginal cast. Everyone wants something better out of life. Everyone wants to be loved and to be happy.
It was particularly depressing to see this play and think of what has been happening at Attawapiskat, where they need a lot more than a new road. so the aboriginal issues are also,still relevant and important.
This production used a color blind cast, which might have been a problem if the cast or the direction had been weaker. but the cast, regardless of race, was uniformly excellent. I list them below, so I can remember the cast and the characters. Zhaboonigan Peterson - Cara Gee, Philomena Moosetail - Kyra Harper, Annie Cook - Djennie Laguerre, Pelajia Patchnose - Jani Lauzon, Nanabush - Billy Merasty, Marie-Adele Starblanket, Emily Dictionary - Michaeal Washburn, Weronique St Pierre - Jean Yoon.
The story is universal - a message that is probably stronger with a mixed cast than if it were an all aboriginal cast. Everyone wants something better out of life. Everyone wants to be loved and to be happy.
It was particularly depressing to see this play and think of what has been happening at Attawapiskat, where they need a lot more than a new road. so the aboriginal issues are also,still relevant and important.
Tuesday, November 29, 2011
The Sankofa Trilogy
Blood Claat is the first part of the trilogy, and certainly made me feel I should see the other two parts. Unfortunately, I will not be able to do so this time around.
D'bi.young Anitafrika is the writer and performer and does a fabuous job of both. The range of parts she plays in this one woman show is astonishing, as is the way in which she manages to make each character distinct and recognisable, not just by changing her voice, but by changing her posture, her movement and in effect her whole persona. It was absolutely wonderful to watch. Stamp, turn and the young teenager becomes her grandmother. Swirl and become the auntie. Jump into the boyfriend. Lurch into the uncle. Fast and flawless.
The stage design was terrific - a series of ropes that were at various times a tree, a house, a room. Stark and simple as I am coming to expect from Camellia Koo.
D'bi.young Anitafrika is the writer and performer and does a fabuous job of both. The range of parts she plays in this one woman show is astonishing, as is the way in which she manages to make each character distinct and recognisable, not just by changing her voice, but by changing her posture, her movement and in effect her whole persona. It was absolutely wonderful to watch. Stamp, turn and the young teenager becomes her grandmother. Swirl and become the auntie. Jump into the boyfriend. Lurch into the uncle. Fast and flawless.
The stage design was terrific - a series of ropes that were at various times a tree, a house, a room. Stark and simple as I am coming to expect from Camellia Koo.
Ghosts
Soulpepper excells at moody plays, so Ibsen is right up their alley. This production of Ghosts is no exception - it was just excellent. The acting and direction made sure that the dialogue and plot were clear. Nothing prevented you from hearing and paying attention to every word. the costumes, set and lighting provided the mood.
Nancy Palk was superb as Mrs Alving; Diego Matamoros and Joseph Zeigler were equally good.
This was a Morris Panych adaptation, so I must give him some credit, too.
Nancy Palk was superb as Mrs Alving; Diego Matamoros and Joseph Zeigler were equally good.
This was a Morris Panych adaptation, so I must give him some credit, too.
Monday, November 28, 2011
Love lies bleeding
A new ballet from the Alberta Ballet company, with music by Elton John and BernienTaupin. This is a great production to introduce a new generation to ballet but is not likely to become part of the classic repertoire. It was flashy and colorful, as expected. The principal dancer was fantastic. There was a beautiful romantic pas de deux performed by two men - not a usual thing in classical ballet.
Thursday, November 3, 2011
Private Lives
Paul Gross at Elyot? what could be better? Unfortunately, he was sick and the understudy played the part. He was very good - smooth, sophisticated and line perfect. Gareth clarke is his name, and he is generally a London, west end actor. Worth looking out for when we are nextt in England.
Kim Cattrall was very good as Amanda as were Anna Madeley as Sybil and Simon Paisley Day as Victor. the latter two are also west end actors.
But I wanted to see Paul Gross, since the play is certainly dated and definitely "fluff", so the evening was a ibt of a disappointment.
Kim Cattrall was very good as Amanda as were Anna Madeley as Sybil and Simon Paisley Day as Victor. the latter two are also west end actors.
But I wanted to see Paul Gross, since the play is certainly dated and definitely "fluff", so the evening was a ibt of a disappointment.
Friday, October 21, 2011
Bigger Than Jesus
Rick Miller is a very talented performer, with an amazing imagination, so this was a great evening, even though not a play.
starting with an introduction in which he informs the audience that he is going to use the Catholic liturgy to perform a mass, he rushes off to demonstrate how many ways he can keep your attention by using different formats. He uses a projected whiteboard, has a battle in the sand on the floor of the stage, sings, dances, talks and overall, he performs. manic but fun. I am looking forward to seeing MacHomer.
Tuesday, September 27, 2011
The Merry Wives of Windsor
Not one of Shakespeare's better efforts, but still a fun afternoon. This sir John Falstaff is definitely the fool, not the sad drunk. Geraint Wynn Davies has a lot of fun with the role and the audience has fun, too.
Lucy Peacock and Laura Condin as the "wives" of the title, wake the audience up with their Pentrance and keep us awake to the end. Tom McCamus as Master George Page and Tom Rooney as Master Fraancis Ford are excellent husbands who find out to their chagrin that thier wives know best.
Lots of great performers in smaller roles and nice staging.
Lucy Peacock and Laura Condin as the "wives" of the title, wake the audience up with their Pentrance and keep us awake to the end. Tom McCamus as Master George Page and Tom Rooney as Master Fraancis Ford are excellent husbands who find out to their chagrin that thier wives know best.
Lots of great performers in smaller roles and nice staging.
The Price
Arthur Miller and Soulpepper seems to be a great combination. They did a great job with Death of a Salesman and now have produced an equally powerfully version of The Price.
The small cast is outstanding. It is hard to choose the best - David Fox as Gregory Solomon was so believable as a 97 year old, charming, wise and funny.
Michael Hanrahan gave us a Victor Franz who carried the production. He is the cop- the realist, and the one who finally realises the price he has paid for the choices he has made, and he is content. Jane Spidell as his wife also comes to realise that her life is the one she has chosen and she would not have chosen otherwise. Stuart Hughes is the succcessful brother who has the most clear understanding of the choices he has made, but he is also the one who does not think he has paid the right price.
Miller lets us know that we each have to decide what price to pay and only we can decide if it was too much.
The small cast is outstanding. It is hard to choose the best - David Fox as Gregory Solomon was so believable as a 97 year old, charming, wise and funny.
Michael Hanrahan gave us a Victor Franz who carried the production. He is the cop- the realist, and the one who finally realises the price he has paid for the choices he has made, and he is content. Jane Spidell as his wife also comes to realise that her life is the one she has chosen and she would not have chosen otherwise. Stuart Hughes is the succcessful brother who has the most clear understanding of the choices he has made, but he is also the one who does not think he has paid the right price.
Miller lets us know that we each have to decide what price to pay and only we can decide if it was too much.
Wednesday, September 21, 2011
In the Next Room or the Vibrator Play
In spite of a solid cast and interesting staging, this play just did not come together. It suffered from being neither fish nor fowl - not a comedy, although it had some funny bits, and not a social commentary, although it clearly had things to say.
I think it should be rewritten to become a comedy. the social message will still be there, but the audience and the actors will have a much better time. As it is, what should be a laugh becomes a snicker, since it is presented in such a serious way.
I also think some judicous editing is needed - the role of Elizabeth is so serious and out of place. It sommed the author could not resist the chance to comment on the social and racial status of wet nurses. But nothing is added to the play other than a role for Marci House, who is very good.
And the comedy should end with the relationships tidied up in some way, not left unresolved. does Mrs Daldry find happiness with her husband or run off with Annie? Doesn't matter which, but some resolution is needed for a happy ending.
I think it should be rewritten to become a comedy. the social message will still be there, but the audience and the actors will have a much better time. As it is, what should be a laugh becomes a snicker, since it is presented in such a serious way.
I also think some judicous editing is needed - the role of Elizabeth is so serious and out of place. It sommed the author could not resist the chance to comment on the social and racial status of wet nurses. But nothing is added to the play other than a role for Marci House, who is very good.
And the comedy should end with the relationships tidied up in some way, not left unresolved. does Mrs Daldry find happiness with her husband or run off with Annie? Doesn't matter which, but some resolution is needed for a happy ending.
Thursday, September 8, 2011
White Biting Dog
Directed by Nancy Palk (her first effort) and starrring Fiona Reid as Lomia, Joseph Ziegler as Glidden, Gregory Prest as Pascal, Mike Ross as Cape and Michaela Washburn as Pony, thisplay by Judith Thompson can easily be described as wierd.
Most of the audience stayed to the end, but I have heard some people describe it as the worst thing they have ever seen. I would not go that far - in fact in many ways I enjoyed it and found the characters interesting, if bizarre. The direction was sound, the acting solid, so any discomfort does have to come back to the play itself.
Superficially, it is about love and relationships and how far will you go to save someone you love, or to save yourself. The dog never appears, but has a starring role.
Depression and the black dog are the enemy of the white biting dog.
Most of the audience stayed to the end, but I have heard some people describe it as the worst thing they have ever seen. I would not go that far - in fact in many ways I enjoyed it and found the characters interesting, if bizarre. The direction was sound, the acting solid, so any discomfort does have to come back to the play itself.
Superficially, it is about love and relationships and how far will you go to save someone you love, or to save yourself. The dog never appears, but has a starring role.
Depression and the black dog are the enemy of the white biting dog.
Tuesday, September 6, 2011
When the Rain Stops Falling
Fabulous! the best yet this year. Amazing story, fantastic cast, brilliant staging. You could not ask for more.
Multiple generations, many with the same name, tell a story across two continents (England and Australia). At times it is confusing, but everything is clear in the end. Andrew Bovell is Australian and the winner of many awards for theatre and film writing.
Peter Hinton directed an amazing cast - Donna Belleville, Wade Bogert O'Brien, Krista Colosimo, Jeff Meadows, Peter Millard, Ric Reid, Tara Rosling, Graeme Somerville and Wendy Thatcher.
The staging was brilliant - corner columns, connected by beams, a huge table in the middle that became everything including Uluru and chairs for each characer so you could keep track. Camellia Koo was the designer.
More than two hours, no intermission and the rain falls throughout. The audience was gripped and the standing ovation was thunderous.
Multiple generations, many with the same name, tell a story across two continents (England and Australia). At times it is confusing, but everything is clear in the end. Andrew Bovell is Australian and the winner of many awards for theatre and film writing.
Peter Hinton directed an amazing cast - Donna Belleville, Wade Bogert O'Brien, Krista Colosimo, Jeff Meadows, Peter Millard, Ric Reid, Tara Rosling, Graeme Somerville and Wendy Thatcher.
The staging was brilliant - corner columns, connected by beams, a huge table in the middle that became everything including Uluru and chairs for each characer so you could keep track. Camellia Koo was the designer.
More than two hours, no intermission and the rain falls throughout. The audience was gripped and the standing ovation was thunderous.
Top Dog/ Underdog
Two black brothers, orphaned when their parents abandon them, struggle to get ahead. You know the struggle is hopeless as soon as you hear their names - Lincoln and Booth.
Lincoln, played by Nigel Shawn Williams, puts on white face to portray Lincoln at an amusement park, where the tourists can take shots at him. He sees this as better than playing three card monte and risking jail again.
Booth, his younger brother, is played by Kevin Hanchard. Booth wants nothing more than to become the three card monte player his brother was - to be "the man".
This was a powerful evening of theatre - a very gripping story and two powerful actors. Just watching them play cards was amazing, but the emotion and the sadness of the story was overwhelming. This play contains some of the saddest lines I have ever heard: "do you think they left us to find another family? with two boys who were better than us? " NOt really an exact quote, but close enough.
One of the best things I have seen all year. Definitely a standing ovation!
Lincoln, played by Nigel Shawn Williams, puts on white face to portray Lincoln at an amusement park, where the tourists can take shots at him. He sees this as better than playing three card monte and risking jail again.
Booth, his younger brother, is played by Kevin Hanchard. Booth wants nothing more than to become the three card monte player his brother was - to be "the man".
This was a powerful evening of theatre - a very gripping story and two powerful actors. Just watching them play cards was amazing, but the emotion and the sadness of the story was overwhelming. This play contains some of the saddest lines I have ever heard: "do you think they left us to find another family? with two boys who were better than us? " NOt really an exact quote, but close enough.
One of the best things I have seen all year. Definitely a standing ovation!
The Admirable Crichton
JM Barrie wrote more than Peter Pan! What happens when the natural order is upset, when the skills of the leaders are not relevant and the skills of the lower classes are essential? Just what you would expect - new leaders arise. Actually, this play is really Peter pan for grown ups, when you think about it. Who doesn't want to be stranded on a desert island and be free from the restrictions of modern society?
Crichton, played by Steven Sutcliffe, rises to the occasion and becomes the Guv waited on hand and foot by the others. The Earl of Loam (David Schurmann) becomes "daddy" and the girls embrace wearing pants and take to hunting. It really is sad when they are rescued and this idyllic island life comes to an end, before the Guv gets the girl!
Morris Panych directed and made very effective use of animals to sing and dance the introductions to the scenes. Ken MacDonald designed very charming and humorous sets for the real world and the island.
Crichton, played by Steven Sutcliffe, rises to the occasion and becomes the Guv waited on hand and foot by the others. The Earl of Loam (David Schurmann) becomes "daddy" and the girls embrace wearing pants and take to hunting. It really is sad when they are rescued and this idyllic island life comes to an end, before the Guv gets the girl!
Morris Panych directed and made very effective use of animals to sing and dance the introductions to the scenes. Ken MacDonald designed very charming and humorous sets for the real world and the island.
On the Rocks
A political comedy by Bernard Shaw, updated by Michael Healey.
Interesting to watch, but not a convincing political theory, unless you are still a devotee of Ayn Rand and other right wing groups.
The Prime Minister returns from a spa convinced that he has all the answers to solve poverty, unemployment etc. He leads a minority government, but so what? he will simply prorogue parliament and do what he wants. Sounds eerily familiar, does it not? hardly surprising with Healey doing the updating.
A very solid cast in a mediocre play of ideas. Not Shaw at his best, but still Shaw at their best.
Wednesday, August 24, 2011
The Homecoming
For decades Keith has raved about seeing this play with Vivian Merchant as Ruth, so I was curious to have a chance to see it at last.
We had the pleasure of hearing Brian Dennehy and Stephen Ouimette talk about the play and their roles before we saw it. both talked about how hard it is to do Pinter, but how much they were enjoying the challenge and enjoying working together. Both turned in wonderful performances, as expected.
The director (Jennifer Tarver) made the right decision in not pushing everyone to have the strong north London accents - it would have been much harder for the actors and the audience.
Aaron Krohn as Lenny was beautifully menacing; Ian lake was the charmingly stupid Joey and Mike Shara was wierdly effective as Teddy, the one who seems to come home.
But of course it is really Ruth who comes home in the end. Cara Ricketts was calm and in control and left no doubt that she would be running the family now.
We had the pleasure of hearing Brian Dennehy and Stephen Ouimette talk about the play and their roles before we saw it. both talked about how hard it is to do Pinter, but how much they were enjoying the challenge and enjoying working together. Both turned in wonderful performances, as expected.
The director (Jennifer Tarver) made the right decision in not pushing everyone to have the strong north London accents - it would have been much harder for the actors and the audience.
Aaron Krohn as Lenny was beautifully menacing; Ian lake was the charmingly stupid Joey and Mike Shara was wierdly effective as Teddy, the one who seems to come home.
But of course it is really Ruth who comes home in the end. Cara Ricketts was calm and in control and left no doubt that she would be running the family now.
Exit the King
Eugene Ionesco wrote this play in 1962, when he feared for his own life and was interested in examining death and its inevitability.
Soulpepper assembled a very strong cast for this production, but somehow it was not enough to overcome Friday evening exhaustion. I coudn not sit still and Keith could not stay awake, so we left at the intermission. Clearly we would have been better served had this been a one act play.
Oliver Dennis and Brenda Robbins are two of my favourite Soulpepper actors and both delivered great performances in this play. Dennis as King Berenger was both mad and sad, but definitely funny. Robbins (Queen Marguerite) used her amazing voice and delivery to great effect, pointing out reality to the King and to everyone around him.
Trish Lindstrom was hilarious as the maid, William Webster cynical as the doctor and Karen Rae swanned around fantastically as Queen Marie. Derek Boyes announced everyone and everything with great sincerity.
I would like to see it again, but not soon and not when I am tired.
Soulpepper assembled a very strong cast for this production, but somehow it was not enough to overcome Friday evening exhaustion. I coudn not sit still and Keith could not stay awake, so we left at the intermission. Clearly we would have been better served had this been a one act play.
Oliver Dennis and Brenda Robbins are two of my favourite Soulpepper actors and both delivered great performances in this play. Dennis as King Berenger was both mad and sad, but definitely funny. Robbins (Queen Marguerite) used her amazing voice and delivery to great effect, pointing out reality to the King and to everyone around him.
Trish Lindstrom was hilarious as the maid, William Webster cynical as the doctor and Karen Rae swanned around fantastically as Queen Marie. Derek Boyes announced everyone and everything with great sincerity.
I would like to see it again, but not soon and not when I am tired.
Friday, August 5, 2011
Hosanna
Having seen what has long been considered "the" performance of this play starring Richard Monette and Richard Donat at Tarragon in 1974, a production that we found astoundingly good, we were nervous about many things: would the play itself stand up after forty years? had we changed too much for it to have the same impact? Could anyone else do justice to the role that Monette had done so perfectly?
Gareth Potter as Hosanna and Oliver Becker as Cuirette pulled it off. Potter demonstrated that he can carry a play and has moved into the first rank of Stratford actors, a big step up from the strong supporting parts he has had in the past. His Hosanna was funny, sad, bitchy, vulgar and tender.
Becker had the supporting role in many ways, but managed to make his character come alive. The audience sympathized with him and his struggle to love Hosanna and convince him that he loved Claude, not just Hosanna. His performance was outstanding.
The play itself stands up to the test of time. It is just as relevant today as when it was written, although the shock of the subject matter is less. At heart it is a play about identity, self acceptance and love, all of which are themes that resonate.
It was good to know that we have not changed too much for the play to have an impact. The impact is different today, as we are certainly more experienced and mature, but not too old to know a good story and good acting!
Gareth Potter as Hosanna and Oliver Becker as Cuirette pulled it off. Potter demonstrated that he can carry a play and has moved into the first rank of Stratford actors, a big step up from the strong supporting parts he has had in the past. His Hosanna was funny, sad, bitchy, vulgar and tender.
Becker had the supporting role in many ways, but managed to make his character come alive. The audience sympathized with him and his struggle to love Hosanna and convince him that he loved Claude, not just Hosanna. His performance was outstanding.
The play itself stands up to the test of time. It is just as relevant today as when it was written, although the shock of the subject matter is less. At heart it is a play about identity, self acceptance and love, all of which are themes that resonate.
It was good to know that we have not changed too much for the play to have an impact. The impact is different today, as we are certainly more experienced and mature, but not too old to know a good story and good acting!
The Misanthrope
We saw a modern version of the play last winter. Looking back I concluded then "that while it was funny it was not a very good play."
This time around the play seems better, but I am struggling to figure out why. The quality of the acting was good in both productions and in this one Ben Carlson, Sara Topham, Kelli Fox and Peter Hitt know how to deliver the lines, but it still did not quite click for me.
At one point Carlson and Topham burst into laughter, and I wondered if it was planned or if one of them had slipped. I suspect it was planned as both are so professional, but it still jarred.
The costumes were fantastic - just gorgeous. The staging was good with the director making full use of the double staircase. The combination of the very full skirted dresses and the stairs gave Sara Topham a wonderful opportunity to flounce and she took full advantage.
My overall conclusion is that it was a good cast in a good production of a not very relevant play.
This time around the play seems better, but I am struggling to figure out why. The quality of the acting was good in both productions and in this one Ben Carlson, Sara Topham, Kelli Fox and Peter Hitt know how to deliver the lines, but it still did not quite click for me.
At one point Carlson and Topham burst into laughter, and I wondered if it was planned or if one of them had slipped. I suspect it was planned as both are so professional, but it still jarred.
The costumes were fantastic - just gorgeous. The staging was good with the director making full use of the double staircase. The combination of the very full skirted dresses and the stairs gave Sara Topham a wonderful opportunity to flounce and she took full advantage.
My overall conclusion is that it was a good cast in a good production of a not very relevant play.
Monday, August 1, 2011
The Little Years
John Mighton , the founder of the JUMP math program and fellow of the Fields Institute wrote this play and several others. The others have won awards - this one did not, a act that I do not find surprising . Billed as an an exploration of time and talent and the value of art, it seems instead a dramatic portrayal of depression and the impact it has on the depressed person's life and everyone around them. I would not recommend the play to anyone who has to live with a depressed person, as it seems all too realistic.
The play lacked structure, but was interesting in that one of the important characters does not appear at all.
The affair between Grace and Roger seems to pop in out of nowhere, possibly to fill time.
The cast did a great job with weak material. I am always happy to watch Evan Buliung and Yanna McIntosh. Bethany Jillard is a young actress to watch. Irene Poole and Chick Reid were terrific as Kate and her mother - two people who could not connect at al, but who were stuck with each other because they did not now what else to do.
The play lacked structure, but was interesting in that one of the important characters does not appear at all.
The affair between Grace and Roger seems to pop in out of nowhere, possibly to fill time.
The cast did a great job with weak material. I am always happy to watch Evan Buliung and Yanna McIntosh. Bethany Jillard is a young actress to watch. Irene Poole and Chick Reid were terrific as Kate and her mother - two people who could not connect at al, but who were stuck with each other because they did not now what else to do.
Monday, July 18, 2011
Titus Andronicus
I was very keen to see this production, as I have been fascinated since the first tme I saw it in 2000. At that production, I went in cold, knowing nothing about the play at all. I remember leaving the theatre stunned by the violence and amazed by the staging and effects needed to chop off hands and heads, never mind the killing.
The Julie Taymor film of the play (Titus) was brilliant and beautiful, but again I left the theatre feeling that I had been smacked. Since that time I have read and reread the play, seen a couple of other revenge tragedies and been to a lecture that suggested that Titus Anmdronicus is actually a comic play and not a revenge tragedy - comic in the sense that the violence is so over the top that it is like watching a comic book with all the little action boxes "pow" "bang" etc.
This production did not disappoint me. I was captured from the beginning, but remained sufficiently aware of my surroundings to hear the gasps from the audience as someo fht e more gruesome scenes occurred. I even noticed one man put his sweater over his head and refuse to watch any more. ( He did not return for the second act, although his wife did).
Enough preamble, to the production itself. It moved along quicly as it must if it is to have any hope of keeping the audience with it. The effects were good, the jokes were pointed (especially the one with the arrows - wathc for it!) and the cast was strong.
I liked Jon Vickery as Titus and I loved Sean Arbuckle as Saturninus. Dion Johnstone made Aaron a human, not just a monster, although perhaps in this production an over the top caricature might hve been more appropriate.
Both leading women were very strong, especially Claire Lautier as Tamora. Amanda Lisman was actually more agressive than my image of Lavinia at the beginning and at the end too for that matter. Brendan Murray and Bruce Godfree were over the top as the insane and evil Chiron and Demetrius.
The audience loved it and gave a semi standing ovation. But for most actors it was probably a pretty good day when you could go home and say you had a standing ovation from Christopher Plummer who was in the front row.
The Julie Taymor film of the play (Titus) was brilliant and beautiful, but again I left the theatre feeling that I had been smacked. Since that time I have read and reread the play, seen a couple of other revenge tragedies and been to a lecture that suggested that Titus Anmdronicus is actually a comic play and not a revenge tragedy - comic in the sense that the violence is so over the top that it is like watching a comic book with all the little action boxes "pow" "bang" etc.
This production did not disappoint me. I was captured from the beginning, but remained sufficiently aware of my surroundings to hear the gasps from the audience as someo fht e more gruesome scenes occurred. I even noticed one man put his sweater over his head and refuse to watch any more. ( He did not return for the second act, although his wife did).
Enough preamble, to the production itself. It moved along quicly as it must if it is to have any hope of keeping the audience with it. The effects were good, the jokes were pointed (especially the one with the arrows - wathc for it!) and the cast was strong.
I liked Jon Vickery as Titus and I loved Sean Arbuckle as Saturninus. Dion Johnstone made Aaron a human, not just a monster, although perhaps in this production an over the top caricature might hve been more appropriate.
Both leading women were very strong, especially Claire Lautier as Tamora. Amanda Lisman was actually more agressive than my image of Lavinia at the beginning and at the end too for that matter. Brendan Murray and Bruce Godfree were over the top as the insane and evil Chiron and Demetrius.
The audience loved it and gave a semi standing ovation. But for most actors it was probably a pretty good day when you could go home and say you had a standing ovation from Christopher Plummer who was in the front row.
Saturday, July 9, 2011
Twelfth Night
It is such a thrill to see a play that you have seen several times before and see something totally new!
Des McAnuff's production managed it. Shakespeare did not write musicals, but somehow McAnuff managed to find enough in the music to make the play a musical. Who knew that Ben Carlson was a great singer?
This production brought several of the secondary characters to the forefront. Feste, played by Ben Carlson, became a lead. Usually he is an enigmatic figure that wanders around in the background making cryptic comments. In this production he drives a lot of the action.
The last production of the play that we saw carried the persecution of Malvolio to a point that made it seem cruel. This version maintains a level of jest that keeps it reasonable. Tom Rooney as Malvolio was funny and sad. And absolutely great.
Brian Dennehey was a lovely Sir Toby Belch, but was completely overwhelmed by Steven Ouimette as Sir Andrew Aguecheek. Was it a wardrobe malfunction or was it deliberate? who cares, it was just another note of hilarious business that made Ouimette's performance just about perfect.
Th main characters were good, including in particular Suzy Jane Hunt who was the stand by for Andrea Runge. What is a standby and how does it differ from an understudy? No idea , but she was great and clearly enjoyed the audience recognition at the end.
Cara Ricketts was definitely worth noting as Maria, and Sara Topham and Mike Shara remain favorites of mine and turned in solid performances as Olivia and Orsino.
Des McAnuff's production managed it. Shakespeare did not write musicals, but somehow McAnuff managed to find enough in the music to make the play a musical. Who knew that Ben Carlson was a great singer?
This production brought several of the secondary characters to the forefront. Feste, played by Ben Carlson, became a lead. Usually he is an enigmatic figure that wanders around in the background making cryptic comments. In this production he drives a lot of the action.
The last production of the play that we saw carried the persecution of Malvolio to a point that made it seem cruel. This version maintains a level of jest that keeps it reasonable. Tom Rooney as Malvolio was funny and sad. And absolutely great.
Brian Dennehey was a lovely Sir Toby Belch, but was completely overwhelmed by Steven Ouimette as Sir Andrew Aguecheek. Was it a wardrobe malfunction or was it deliberate? who cares, it was just another note of hilarious business that made Ouimette's performance just about perfect.
Th main characters were good, including in particular Suzy Jane Hunt who was the stand by for Andrea Runge. What is a standby and how does it differ from an understudy? No idea , but she was great and clearly enjoyed the audience recognition at the end.
Cara Ricketts was definitely worth noting as Maria, and Sara Topham and Mike Shara remain favorites of mine and turned in solid performances as Olivia and Orsino.
Sunday, July 3, 2011
Jesus Christ Superstar
Spectacular! The audience could hardly contain themselves they were so eager to clap and cheer, and gave a resounding standing ovation at the end.
Some terrific performances , both fro the usual suspects and from some people I had never noticed before. Paul Nolan was terrific as Jesus - I cannot understand why I have never noticed him before. He was Al in Grapes of Wrath and Bobby in Cabaret and Orlando in As You Like It, so not just a singer. but he certainly has a powerful voice. Another unknown, Josh Young was equally fantastic as Judas. I do remember his performance as Che, although his name did not stick. I hope it will now!
Bruce Dow did a terrific number as Herod, all decadent in red sequins. Brent Carver was brooding as Pontius Pilate - terrifically louche in his purple velvet lounge suit.
Chilina Kennedy once again demonstrated her star quality as Mary Magdalene. Marcus Nance has a bass voice so low it sounded like the thunder that was going on outside - fantastic as Caiapahas demanding the death of Christ. Mike Nadajewski was great as Peter.
The staging and choreography were spectacular.
Even though I am not a big fan of classic opera, Des McAnuff can make me a fan of rock opera.
Some terrific performances , both fro the usual suspects and from some people I had never noticed before. Paul Nolan was terrific as Jesus - I cannot understand why I have never noticed him before. He was Al in Grapes of Wrath and Bobby in Cabaret and Orlando in As You Like It, so not just a singer. but he certainly has a powerful voice. Another unknown, Josh Young was equally fantastic as Judas. I do remember his performance as Che, although his name did not stick. I hope it will now!
Bruce Dow did a terrific number as Herod, all decadent in red sequins. Brent Carver was brooding as Pontius Pilate - terrifically louche in his purple velvet lounge suit.
Chilina Kennedy once again demonstrated her star quality as Mary Magdalene. Marcus Nance has a bass voice so low it sounded like the thunder that was going on outside - fantastic as Caiapahas demanding the death of Christ. Mike Nadajewski was great as Peter.
The staging and choreography were spectacular.
Even though I am not a big fan of classic opera, Des McAnuff can make me a fan of rock opera.
Tuesday, June 21, 2011
Andromache
We saw Graham McLaren's Hamlet a couple of years ago - a stripped-down version showing the bare bones of the revenge tragedy it would have been in the hands of one of Shakespeare's contemporaries. Not really comparable to a couple of the great Hamlet's we have seen, but better than the general run of them and exciting theatre in its own right.
Well, his production of Andromache has a similar pace and style, set in post-invasion Iraq (or somewhere similar). I am sure Evie Christie's writing was a big part of this, but she certainly appears to have found a soulmate in McLaren. (I don't know the Racine original, but I doubt much more than the basic plot outline survived here.)
The play is loud, savage, brash - like the emotions and obsessions of the main characters.
Arsinee Khanjian is the only actor I recognised, playing the only low-key (and relatively minor) role, that of Andromache. She was very dignified as the Iraqi/Trojan queen, but I think she could have turned up the wattage a bit to compete with the strutting American/Greek characters.
Christopher Morris was apparently in the 2009 Hamlet, but I did not recognise him. I found his performance a bit off, in that he tended to gesture and declaim, while the rest of the acting was more naturalistic. Still, lots of intensity.
Steven McCarthy (Orestes) and Ryan Hollyman (Pylades) I do not know, but were excellent and seemed thoroughly real.
Christine Horne (Hermione) was terrifying - but in a good way. Her Hermione is why men become heroes. Or monks.
A thrilling performance; I am glad I got to it. Eat your heart out Cathy!
Monday, June 20, 2011
1001 Nights
Two nights in a row, but we managed only the first act of the first night. The plot was repetitive, the staging weak, the cast merely adequate, the choreography amateur: in short there was no reason to stay. So we left and gave the tickets to night two away.
It was interesting to notice how quickly you forgot the fact the play was being performed in three languages,English, French and Arabic.
It was interesting to notice how quickly you forgot the fact the play was being performed in three languages,English, French and Arabic.
Cat on a Hot Tin Roof
It takes a heat actress to describe herself as MAggie the Cat, without causing the audience to giggle. Moya O'Connell managed to do it. she was a restless cat, not asking for sympathy but getting it anyway!
Gray Powell, described by a friend as "not hard to look at", turned in a repressed, depressed performance as Brick.
But the evening belonged to Jim Mezon as Big Daddy. He raged against his fate, his wife and his sons. ut he also managed to sympathize with the pain Brick was experiencing, even though he couldn't manage to express it .
It was a thoroughly satisfying production.
Gray Powell, described by a friend as "not hard to look at", turned in a repressed, depressed performance as Brick.
But the evening belonged to Jim Mezon as Big Daddy. He raged against his fate, his wife and his sons. ut he also managed to sympathize with the pain Brick was experiencing, even though he couldn't manage to express it .
It was a thoroughly satisfying production.
Candida
Nice production, good cast , nothing noteworthy.
I am not sure why we decided to to see it again so soon after the Kelly Fox version in 2002. You would think that nearly ten years was enough of a gap, but clearly not!
Claire Julien, Nigel Shawn Williams, Norman Browning and Graeme Somerville are all actors i like. Wade
Bogert O'Brien is definitely some one to watch. But the group did not coalesce and the play fellll flat.
I am not sure why we decided to to see it again so soon after the Kelly Fox version in 2002. You would think that nearly ten years was enough of a gap, but clearly not!
Claire Julien, Nigel Shawn Williams, Norman Browning and Graeme Somerville are all actors i like. Wade
Bogert O'Brien is definitely some one to watch. But the group did not coalesce and the play fellll flat.
Heartbreak House
What more can I say than I fell asleep in all three acts?
I have seen and enjoyed this play before but for some reason this production did not work for me. I definitely did not like the set and felt it was getting in the way of the actors and the action.
A very good cast, including Tara Rosling, the understudy for Laurie Paton as Lady Utterwood, who stepped in without missing a beat,could not salvage a rather boring and pedantic play. Benedict Campbell was great as the beleaguered Boss Manganese. Michael Ball was suitably gruff as Captain Shotover.
But the play does prove that Shaw knew Nothing about women and even less about the relationships between men and women.
I have seen and enjoyed this play before but for some reason this production did not work for me. I definitely did not like the set and felt it was getting in the way of the actors and the action.
A very good cast, including Tara Rosling, the understudy for Laurie Paton as Lady Utterwood, who stepped in without missing a beat,could not salvage a rather boring and pedantic play. Benedict Campbell was great as the beleaguered Boss Manganese. Michael Ball was suitably gruff as Captain Shotover.
But the play does prove that Shaw knew Nothing about women and even less about the relationships between men and women.
My Fair Lady
OK, I have to admit my bias - I think this is the best musical ever written! when I was in high school I used to study with this playing in a continuous loop in the background. Probably explains why I know all the lyrics but can't remember any physics or chemistry.
In any case, the Shaw production met all my expectations. Deborah Hay was a loverly Eliza. Benedict Campbell was superb as Henry Higgins. Neil Barclay was born to play the part of Alfred Doolittle and Patrick Galligan was an excellent Pickering -even though he looks too young.
Great staging and scenery, wonderful costumes. You had to walk out singing!
In any case, the Shaw production met all my expectations. Deborah Hay was a loverly Eliza. Benedict Campbell was superb as Henry Higgins. Neil Barclay was born to play the part of Alfred Doolittle and Patrick Galligan was an excellent Pickering -even though he looks too young.
Great staging and scenery, wonderful costumes. You had to walk out singing!
Friday, June 10, 2011
Fronteras Americanas
Created and first performed at Tarragon in 1993, this production has been updated, but not significantly.
Keith and I had different reactions to the play - I thought the first act was very funny and was happy to stay for the second. He would have left at the intermission, but agreed to stay since I was enjoying it. I should have let him win - the first act was significantly better. It was funny and lively. The second act got preachy and slow.
The writer and star does make some valid points about Canadian society and our acceptance of people not like ourselves. But I would rather laugh at myself than be preached at. Clearly I was in the minority as the audience reaction was very positive.
Keith and I had different reactions to the play - I thought the first act was very funny and was happy to stay for the second. He would have left at the intermission, but agreed to stay since I was enjoying it. I should have let him win - the first act was significantly better. It was funny and lively. The second act got preachy and slow.
The writer and star does make some valid points about Canadian society and our acceptance of people not like ourselves. But I would rather laugh at myself than be preached at. Clearly I was in the minority as the audience reaction was very positive.
Thursday, June 2, 2011
Untitled by Edouard Lock
Cathy refuses to post on this show, but it was part of the Canadian Stage series, so I am going to break my rule and post, rather than comment.
The performance was by La La La Human Steps and I have to confess I am not really a dance fan - once I get over my awe at the dancers' strength and flexibility, I tend to lose interest.
Lock claims to tell stories - in this case Dido and Aeneas and Orpheus and Eurydice. I am not familiar with the Baroque operas he apparently based this production on, but both are stories of lovers parted - and I looked out for that in this production.
Well initially I thought I was doing well. The setting was clearly Canadian cottage country or small town. The women were trying to start two-stroke engines (lawnmowers? outboard motors?) while the guys were working under cars. In both cases, they were bothered by swarms of mosquitoes and kept flailing at them.
After that, I lost it and spent the time worrying about my eyesight - as there seemed to be a persistence of image thing happening with the dancers arms. Actually, Cathy and other people commented on the same thing, so perhaps it was deliberate. Which would be interesting. Nothing else was, though.
Sunday, May 22, 2011
Richard the Third
There were no disappointments with this production! It was almost perfect- great staging, great costumes, sound and lighting.
Seanna McKenna was perfect as Richard- amoral and funny and evil. Her many asides to the audience -both oral and physical were always spot on. It is amazing what she can convey in a glance or by raising an eyebrow. She maintained the physical characteristics of Richard flawlessly, scuttling around like a beetle from one plot to the next. Definitely a standing ovation performance!
Martha Henry delivered Queen Margaret's curses brilliantly - totally in control, never over the top and deliciously nasty. I am inspired to memorize that speech just for the fun of thinking about who I might deliver it to.
The one weak character was David Ferry as Edward IV. The production added a scene at the beginning celebrating his coronation, but it seemed like a dumb show, largely because of the way he was made up and his strange behavior. It was a relief to hear the usual first line.
Sean Arbuckle was delightfully evil as Catesby and Shane Carty was amusing as the Lord Mayor of London. Yanna McIntosh gave a strong performance as did Bethany Jillard as Lady Anne.
Seanna McKenna was perfect as Richard- amoral and funny and evil. Her many asides to the audience -both oral and physical were always spot on. It is amazing what she can convey in a glance or by raising an eyebrow. She maintained the physical characteristics of Richard flawlessly, scuttling around like a beetle from one plot to the next. Definitely a standing ovation performance!
Martha Henry delivered Queen Margaret's curses brilliantly - totally in control, never over the top and deliciously nasty. I am inspired to memorize that speech just for the fun of thinking about who I might deliver it to.
The one weak character was David Ferry as Edward IV. The production added a scene at the beginning celebrating his coronation, but it seemed like a dumb show, largely because of the way he was made up and his strange behavior. It was a relief to hear the usual first line.
Sean Arbuckle was delightfully evil as Catesby and Shane Carty was amusing as the Lord Mayor of London. Yanna McIntosh gave a strong performance as did Bethany Jillard as Lady Anne.
Forests
We had high hopes for this play by Wajdi Mouawad the author of Scorched.
But this play did not meet the high standard set by the earlier one.
The elements of magic realism did not add to the story but made it unnecessarily complicated.
The idea of a family that will live an isolated life in a zoo is a strange point of departure
and leads directly to the inevitable result - -insanity and incest.
Mouawad's obsession with the subject of incest is curious to say the least.
We left the play agreeing that it was interesting, but not gripping. And definitely
wondering what the point was. It seemed more like a collection of experiments than a
well crafted, well constructed play.
The cast was good and it is always a pleasure to watch R H Thomson. Lisa Ripo-Martell and Vivien EndIcott-Douglas e becoming favorites.
But this play did not meet the high standard set by the earlier one.
The elements of magic realism did not add to the story but made it unnecessarily complicated.
The idea of a family that will live an isolated life in a zoo is a strange point of departure
and leads directly to the inevitable result - -insanity and incest.
Mouawad's obsession with the subject of incest is curious to say the least.
We left the play agreeing that it was interesting, but not gripping. And definitely
wondering what the point was. It seemed more like a collection of experiments than a
well crafted, well constructed play.
The cast was good and it is always a pleasure to watch R H Thomson. Lisa Ripo-Martell and Vivien EndIcott-Douglas e becoming favorites.
Sunday, May 15, 2011
The Grapes of Wrath
Our first play of the Stratford season. I wanted to see it, Keith did not. It was superb!
Evan Builung was brilliant as Tom Joad Janet Wright equally strong as Ma Joad and Tom McCamus was great as the preacher. There were no weak links in the rest of the cast, but these three carried the play.
The staging was brilliant. Using three bluegrass musicians to abridge the scene changes was great -they really kept the play moving forward, even as they drew your attention away from the changes.
It is a depressing story, but the production was so good that it was thrilling to watch.
The dead silence by the audience was a tribute to the director and the cast.
Evan Builung was brilliant as Tom Joad Janet Wright equally strong as Ma Joad and Tom McCamus was great as the preacher. There were no weak links in the rest of the cast, but these three carried the play.
The staging was brilliant. Using three bluegrass musicians to abridge the scene changes was great -they really kept the play moving forward, even as they drew your attention away from the changes.
It is a depressing story, but the production was so good that it was thrilling to watch.
The dead silence by the audience was a tribute to the director and the cast.
The Cosmonaut's last message to the woman he once loved in the former Soviet Union
two cosmonauts stranded on the space station discuss life, love and the meaning of the universe.
Unfortunately it was Friday evening and I was very tired. So after sleeping through most of the first act we went home at the intermission.
Not fair to comment, since it may have been more the circumstance than the play.
Unfortunately it was Friday evening and I was very tired. So after sleeping through most of the first act we went home at the intermission.
Not fair to comment, since it may have been more the circumstance than the play.
Monday, April 18, 2011
Our Class
Clearly all directors in Toronto got together when planning their seasons and decided the audience was too cheerful and needed to be reminded that evil happens in the world. Tough going for a Friday evening, but well worth seeing.
Our class is the story of a class of Polish schoolchildren who are all friends, even though some are Jews and some are Poles. The Nazis arrive and friendship is sacrificed. The eventual result is the death of 1593 of the 1600 Jews who lived in the town of Jedwabne.
Petty jealousy, fear, greed, hypocrisy, and the chance to get ahead at someone else's expense. All played a part, as did mob psychology. It seems clear that people who would never commit crimes on their own can be driven to horrible actions by the group. The pattern is not unique to Jedwabne - consider Rwanda, the Congo, Cambodia - recent history is full of this behaviour.
The play is staged very effectively, with only chairs as props. The children sing and dance to set the scene, and grow up slowly in front of you. The director makes very effective use of the chorus to carry the narrative, interspersing it with direct address to the audience as various characters tell their story. As each character dies, he/she moves a chair to the back of the stage and sits as witness to the rest of the story.
In spite of the tragic nature of the actioins, there are moments of humour - when the rabbi lists his chldren and their descendants ( a direct contrast to the earllier list of the relatives who were murdered.) Marianna's comments about her happiness in the senoris residence are also very funny.
there is a full spectrum of human behaviour portrayed - the good, the bad and the survivors who were either lucky,(Abram), pragmatic (Rachelka/Marianna) or conniving and ready to seize the main chance (Zygmunt and Heneik.
A very solid cast - many of them unknown to me, other than Jonathan Goad (I am not used to hating him, but he played the worst of the characters) and Jessica Greenberg who played Marianna. Michael Rubenfeld as Abram was very effective, but really there were no weak performances.
Our class is the story of a class of Polish schoolchildren who are all friends, even though some are Jews and some are Poles. The Nazis arrive and friendship is sacrificed. The eventual result is the death of 1593 of the 1600 Jews who lived in the town of Jedwabne.
Petty jealousy, fear, greed, hypocrisy, and the chance to get ahead at someone else's expense. All played a part, as did mob psychology. It seems clear that people who would never commit crimes on their own can be driven to horrible actions by the group. The pattern is not unique to Jedwabne - consider Rwanda, the Congo, Cambodia - recent history is full of this behaviour.
The play is staged very effectively, with only chairs as props. The children sing and dance to set the scene, and grow up slowly in front of you. The director makes very effective use of the chorus to carry the narrative, interspersing it with direct address to the audience as various characters tell their story. As each character dies, he/she moves a chair to the back of the stage and sits as witness to the rest of the story.
In spite of the tragic nature of the actioins, there are moments of humour - when the rabbi lists his chldren and their descendants ( a direct contrast to the earllier list of the relatives who were murdered.) Marianna's comments about her happiness in the senoris residence are also very funny.
there is a full spectrum of human behaviour portrayed - the good, the bad and the survivors who were either lucky,(Abram), pragmatic (Rachelka/Marianna) or conniving and ready to seize the main chance (Zygmunt and Heneik.
A very solid cast - many of them unknown to me, other than Jonathan Goad (I am not used to hating him, but he played the worst of the characters) and Jessica Greenberg who played Marianna. Michael Rubenfeld as Abram was very effective, but really there were no weak performances.
After Akhmatova
The play is based on historical fact and Anna Akhmatova was a real poet. Set at the time of the Bolshevik regime and the subsequent Stallinst purges, the play deals with repression and the need of the artist to create. Anna writes a poem that she cannot put in writing, so she memorises it and burns the manuscript. It is eventually published twenty years later. Is it the subversive nature of poetry that is the problem, or simply the fact that it bears witness to things the government does not want remembered?
This was a fascinating play, but hard to watch, as you waited for the police to come to arrest the two characters who speak out - Osip Mandelstam (Richard macMillan) and Anna's sone Lev Gumilyov (Eric Goulem.
Sara Orenstein gave her usual strong performance as Anna, with great support from Clare Calnan as Lydia and Caroline Gillis as Nadezhda. the one weak character was Alan Taylor, playing Paul Dunn. I think it was partly a weakness in the writing - the addition of an American was intrusive, and partly it was Taylor hismself, who seemed to find it hard to get the rythmn.
This was a fascinating play, but hard to watch, as you waited for the police to come to arrest the two characters who speak out - Osip Mandelstam (Richard macMillan) and Anna's sone Lev Gumilyov (Eric Goulem.
Sara Orenstein gave her usual strong performance as Anna, with great support from Clare Calnan as Lydia and Caroline Gillis as Nadezhda. the one weak character was Alan Taylor, playing Paul Dunn. I think it was partly a weakness in the writing - the addition of an American was intrusive, and partly it was Taylor hismself, who seemed to find it hard to get the rythmn.
Tuesday, March 22, 2011
More Fine Girls
We didn't see the original (The attic, the pearls and three Fine girls) so we can't compare. This play is fun and silly. The cast pull it off - as you would expect when the actors are Ann-Marie Macdonald, Martha Ross and Severn Thompson.
But it is essentially a silly play with the kind of humour that infects women when they are in groups of old friends (or sisters). Some of the jokes are laugh out loud funny; others warrant just a chuckle and others a groan. Overall it was an enjoyable afternoon, but not great theatre.
But it is essentially a silly play with the kind of humour that infects women when they are in groups of old friends (or sisters). Some of the jokes are laugh out loud funny; others warrant just a chuckle and others a groan. Overall it was an enjoyable afternoon, but not great theatre.
Billy Elliot - the Musical
It was an excellent movie and is now a terrific musical. It is a big risk to put the success of a show in the hands of a 12 year old, which is what this musical requires. Billy is on stage almost the whole time and dominates when he is there. fortnautely, the boys in this production are well up to the challenge. We only saw one of course, but other reviews are consistent in reporting on how good the Billy's are.
Elton John wrote the music so it is definitely singable, but is is the dancing the really drives the show.
Elton John wrote the music so it is definitely singable, but is is the dancing the really drives the show.
Tuesday, March 8, 2011
Brothel #9
The second play in a month to deal with prosititutes and violence against women, this one deals with women sold into prostitution by family members who just want the money. But it shows very graphically the casual brutality inflicted on powerless women by the men in their lives - the pimp, the policeman and the brother who sold her.
The play is very hard to watch, but it is very powerful, I think because the characters are all people. No one is a stereotype; all are complex with both good and bad aspects and therefore so much more sympathetic. You feel sorry for the pimp,(Ash Knight) who is just a guy trying to get by; you hate him for his brutality and the wya he treats the women who are earning his living and you find him charming in his enthusiasms. The policeman (Sanjay Talwar)who rapes the new girl turns out to be a romantic at heart. The older prostitute (Anusree Roy) struggles to survive and really wants to be loved, by anyone. And the younger prostitute (Pamela Sinha) leaves us with a bit of hope when she finally stands up for herself and leaves.
This is an excellent play by Anusree Roy, who was also the strongest actor in the cast, although it was generally a very good cast. Staging was effective and the direction by Nigel Shawn Williams was solid, although I think a few of the bits of business at the beginning (cooking the fish curry for example) took too long.
A tough evening of theatre for a Friday night, but definitely worth seeing.
The play is very hard to watch, but it is very powerful, I think because the characters are all people. No one is a stereotype; all are complex with both good and bad aspects and therefore so much more sympathetic. You feel sorry for the pimp,(Ash Knight) who is just a guy trying to get by; you hate him for his brutality and the wya he treats the women who are earning his living and you find him charming in his enthusiasms. The policeman (Sanjay Talwar)who rapes the new girl turns out to be a romantic at heart. The older prostitute (Anusree Roy) struggles to survive and really wants to be loved, by anyone. And the younger prostitute (Pamela Sinha) leaves us with a bit of hope when she finally stands up for herself and leaves.
This is an excellent play by Anusree Roy, who was also the strongest actor in the cast, although it was generally a very good cast. Staging was effective and the direction by Nigel Shawn Williams was solid, although I think a few of the bits of business at the beginning (cooking the fish curry for example) took too long.
A tough evening of theatre for a Friday night, but definitely worth seeing.
The Middle Place
This play started as a video and then was transformed by the creator into a play. It is a very interesting social commentary that raises many important issues about the way society treats adolescents who are living in shelters. Told from the point of view of the residents and the case workers, it presents small pastiches of life. But There is no plot, so no real beginning or end. Eventually it just stops.
The cast and staging were good, but the one to watch in future is Andrew Kushnir, the author.
The cast and staging were good, but the one to watch in future is Andrew Kushnir, the author.
Thursday, February 17, 2011
St Carmen of the Main
Visually stunning production is not enough to overcome a weak play. If I were not already a fan of Michel Tremblay, this play would not encourage me to become one.
The story is sparse - Carmen comes back from the States and wants to sing new songs about the lives of her firends - the hookers and junkies who inhabit the Main. The boss and boyfriend says no - she has to sing the old stuff. When she refuses, she is killed.
If the play is an allegory about Quebec and the cultural domination by the Anglos, it is merely very dated. And if the denizens of the Main represent Quebecers, they should feel insulted.
The use of the chorus allows the director (Peter Hinton) to pretend that this is a Greek trageedy, but I think it isn only fair to say that Tremblay was influened by Greek tragedy - he certainly did not write one here. Hinton has had great success directing real Greek tragedies, so this is a surprising lapse.
In spite of my complaints, there were strong performances by Diane D'Aquila as Harelip, Jean Leclerc as Maurice, Robert Persichini as Sandra and Karen Robinson as Rose Beef. JOey Tremblay as Toothpick was an odd menacing figure throughout the play, but came into his own for his big speech explaining the "story " of Carmen's death.
Laara Sadiq was the weakest of the principal characters, but she was not helped by her costume and wig, both of which were extremely distracting.
The story is sparse - Carmen comes back from the States and wants to sing new songs about the lives of her firends - the hookers and junkies who inhabit the Main. The boss and boyfriend says no - she has to sing the old stuff. When she refuses, she is killed.
If the play is an allegory about Quebec and the cultural domination by the Anglos, it is merely very dated. And if the denizens of the Main represent Quebecers, they should feel insulted.
The use of the chorus allows the director (Peter Hinton) to pretend that this is a Greek trageedy, but I think it isn only fair to say that Tremblay was influened by Greek tragedy - he certainly did not write one here. Hinton has had great success directing real Greek tragedies, so this is a surprising lapse.
In spite of my complaints, there were strong performances by Diane D'Aquila as Harelip, Jean Leclerc as Maurice, Robert Persichini as Sandra and Karen Robinson as Rose Beef. JOey Tremblay as Toothpick was an odd menacing figure throughout the play, but came into his own for his big speech explaining the "story " of Carmen's death.
Laara Sadiq was the weakest of the principal characters, but she was not helped by her costume and wig, both of which were extremely distracting.
Ruined
Lynn Nottage won the Pulitzer prize for this play, largely I suspect because of the power of the material and the opportunity it provides for great actors to demonstrate their talents. The play still needs work - it is longer than it needs to be and has at least one scene that is unnecessary. Playing with the parott adds mothing - Kill the Parrot!
But this production was excellent- a very powerful cast kept the audience fully engaged. Yanna McIntosh as Mama Nadi was brilliant. She did not miss a step and managed to be tough, funny, sarcastic and vulnerable and always totally believable.
the rest of the cast were also strong. Sterling Jarvis as Christian was a perfect foil for McIntosh. Sophia Walker as Sophia gave a literally show stopping performance - her speech about what happened to her and her baby was so powerful and so powerfully delivered that the audience clapped spontaneously - probably because the only possible other reaction was to burst into tears.
But this production was excellent- a very powerful cast kept the audience fully engaged. Yanna McIntosh as Mama Nadi was brilliant. She did not miss a step and managed to be tough, funny, sarcastic and vulnerable and always totally believable.
the rest of the cast were also strong. Sterling Jarvis as Christian was a perfect foil for McIntosh. Sophia Walker as Sophia gave a literally show stopping performance - her speech about what happened to her and her baby was so powerful and so powerfully delivered that the audience clapped spontaneously - probably because the only possible other reaction was to burst into tears.
Monday, February 7, 2011
King Lear
Another in the series of live Broadcasts by the National Theatre - this one from the Donmar - a 250 seat theatre in Covent Garden.
This was an excellent production - in large part because the setting was completely stark and bare. The focus was on the words and the movement and it worked really well. The pacing was fast, with people coming on and off from at least three points. As the only thing that had to change from one scene to the next was your mind, it enabled a potentially tedious play to maintain the pace without losing any of the words or the plot.
Derek Jacobi was outstanding as Lear - probably the best I have seen. He raged, he pranced, he cried, he shouted and he collapsed into madness.
Gina McKee as Goneril outdid Justine Mitchell as Regan in sheer evil. The sisters start out impatient with an aged, petulant parent and descend into his inheritors - wanting to have it all on their own terms with no regard for the law or morality. Pippa Bennet-Warner as Cordelia was good and true and very believable.
Gwilym Lee as Edgar and Alec Newman as Edmund are worth watching out for.
This was an excellent production - in large part because the setting was completely stark and bare. The focus was on the words and the movement and it worked really well. The pacing was fast, with people coming on and off from at least three points. As the only thing that had to change from one scene to the next was your mind, it enabled a potentially tedious play to maintain the pace without losing any of the words or the plot.
Derek Jacobi was outstanding as Lear - probably the best I have seen. He raged, he pranced, he cried, he shouted and he collapsed into madness.
Gina McKee as Goneril outdid Justine Mitchell as Regan in sheer evil. The sisters start out impatient with an aged, petulant parent and descend into his inheritors - wanting to have it all on their own terms with no regard for the law or morality. Pippa Bennet-Warner as Cordelia was good and true and very believable.
Gwilym Lee as Edgar and Alec Newman as Edmund are worth watching out for.
The Misanthrope
A new take on an old play. This updated version of the Moliere classic, by Martin Crimp, brings the language and the setting into modern times. The setting is fantastic - all white and shocking pink.
The cast were all good, in particular Andrea Runge as Jennifer, Michele Giroux as Ellen and Stuart Hughes as Alceste.
The play is funny, but thinking it over afterwards I came to the conclusion that it is not a very good play. The final renunciation of her lover by Jennifer is not unexpected - what does not ring true is his expectation that she will actually give up her whole life and run off to the country with him. the sartire ignores psychology, so the characters do not seem at all real, to the detriment of the play.
It will be interesting to compare with the upcoming production at Stratford, which judging by the promotional photos will be much more traditional, at least in costumes and setting.
The cast were all good, in particular Andrea Runge as Jennifer, Michele Giroux as Ellen and Stuart Hughes as Alceste.
The play is funny, but thinking it over afterwards I came to the conclusion that it is not a very good play. The final renunciation of her lover by Jennifer is not unexpected - what does not ring true is his expectation that she will actually give up her whole life and run off to the country with him. the sartire ignores psychology, so the characters do not seem at all real, to the detriment of the play.
It will be interesting to compare with the upcoming production at Stratford, which judging by the promotional photos will be much more traditional, at least in costumes and setting.
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