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Tuesday, November 27, 2012
Monday, August 20, 2012
Elektra
Thanks to the Stratford Festival, I am developing a passion for Greek tragedy. This production of Elektra, starring Yanna MacIntosh in the title role and Seana McKenna as Clytemnestra, definitely added to my enthusiasm.
The director of this production, Thomas Moschopolous, is Greek and clearly brought a contemporary Greek sensibility to the production. The staging was excellent, particularly for someone who had never worked on the Paterson stage before. The chorus was brilliant, moving around the space, taking turns with the lines and engaging the audience.
Hearing the two leading actors discuss the production at a Meet the Festival a week later pointed out how much I had missed. I think I need to see it again.
The director of this production, Thomas Moschopolous, is Greek and clearly brought a contemporary Greek sensibility to the production. The staging was excellent, particularly for someone who had never worked on the Paterson stage before. The chorus was brilliant, moving around the space, taking turns with the lines and engaging the audience.
Hearing the two leading actors discuss the production at a Meet the Festival a week later pointed out how much I had missed. I think I need to see it again.
Misalliance
The key thing to remember about this is that it is the one where he plane crashes into the conservatory! And in this production it does so with great style to reveal Tara Rosling as Lina Szczepanowska.
Thom Marriott, sporting a full head of hair, is perfect in the role of Tarleton, referring everyone to the particular author who can provide insight on any problem. Ben Sanders is outstanding as Bentley Summerhays. His performance could easily have slid over the top, but he kept it in control even as he launched into one tantrum after another.
At the beginning, I was not sure Krista Colosimo was right for Hypatia, but it came together as the play progressed. I think it was her costume that put me off - it did not seem to fit the rest of the family. But eventually I forgot about it, as she took over the role.
Thom Marriott, sporting a full head of hair, is perfect in the role of Tarleton, referring everyone to the particular author who can provide insight on any problem. Ben Sanders is outstanding as Bentley Summerhays. His performance could easily have slid over the top, but he kept it in control even as he launched into one tantrum after another.
At the beginning, I was not sure Krista Colosimo was right for Hypatia, but it came together as the play progressed. I think it was her costume that put me off - it did not seem to fit the rest of the family. But eventually I forgot about it, as she took over the role.
The Millionairess
We have seen at least two previous productions of this Shaw play and enjoyed them all. This year's version is certainly one of the best.
Nicole Underhay is wonderful in Shaw's opinionated, glamourous and determined heroine roles. There was not a woman in the audience who did not want to have her costumes and the body to wear them. Robin Evan Willis is almost as good as the practical other woman, Polly.
The men in the play are excellent, but there is no doubt they have to work hard to keep up with the women, as their parts are just not as solid.
Lots of fun and not as overly wordy as some ofmShaw's plays can be.
Nicole Underhay is wonderful in Shaw's opinionated, glamourous and determined heroine roles. There was not a woman in the audience who did not want to have her costumes and the body to wear them. Robin Evan Willis is almost as good as the practical other woman, Polly.
The men in the play are excellent, but there is no doubt they have to work hard to keep up with the women, as their parts are just not as solid.
Lots of fun and not as overly wordy as some ofmShaw's plays can be.
Wednesday, August 8, 2012
Come Back Little Sheba
The Shaw Festival has done acclaimed productions of work by William Inge in the past, including Bus Stop and Picnic, but we have missed seeing them for some reason. Come Back Little Sheba was our first exposure to this American master.
Ric Reid and Corrine Koslo were superb in the lead roles as Doc and Lola Delaney, with good support from Julia Course as Marie and Kevin McGarry as Turk.
Jackie Maxwell directed and as usual was fully in control of the action. The tension between Doc and Lola grows to a climax that is shocking. Doc finally says what he has been thinking for the past year and it is nasty and cruel. But when he comes back, he speaks the truth again, even tough it is totally at odds with what he said before.
Ric Reid and Corrine Koslo were superb in the lead roles as Doc and Lola Delaney, with good support from Julia Course as Marie and Kevin McGarry as Turk.
Jackie Maxwell directed and as usual was fully in control of the action. The tension between Doc and Lola grows to a climax that is shocking. Doc finally says what he has been thinking for the past year and it is nasty and cruel. But when he comes back, he speaks the truth again, even tough it is totally at odds with what he said before.
Hedda Gabler
Is this a feminist dramatic manifesto, or the story of a bored housewife who incites suicide to cure her boredom?
I think the first time I saw this play, nearly forty years ago, I would have taken the feminist manifesto side of the argument, as early audiences certainly did. Now I see Hedda as a woman stifled by her need to conform to the conventions of her restricted society, but so spoiled and ego centric that she cannot break free in any positive way. Instead she rebels within her society by urging Loevberg to a beautiful death. And when he fails to meet her expectations, she finally does the deed herself.
Moya O'Connell is a beautiful, tightly wound Hedda, someone who can "smile and smile and be a villain".
Claire Julien is her match as Thea Elvsted, the quiet shy woman who wins in the end. A tiny little smile is the only sign that she knows her own victory.
Excellent performances by Jim Mezon as the unprincipled Judge Brack, Patrick McManus as George Tesman and Gray Powell as Eilert Loevberg.
The production, directed by Martha Henry, is still in previews and needs tightening up, patricularly in the first act. But overall, a worthy production of a difficult play.
I think the first time I saw this play, nearly forty years ago, I would have taken the feminist manifesto side of the argument, as early audiences certainly did. Now I see Hedda as a woman stifled by her need to conform to the conventions of her restricted society, but so spoiled and ego centric that she cannot break free in any positive way. Instead she rebels within her society by urging Loevberg to a beautiful death. And when he fails to meet her expectations, she finally does the deed herself.
Moya O'Connell is a beautiful, tightly wound Hedda, someone who can "smile and smile and be a villain".
Claire Julien is her match as Thea Elvsted, the quiet shy woman who wins in the end. A tiny little smile is the only sign that she knows her own victory.
Excellent performances by Jim Mezon as the unprincipled Judge Brack, Patrick McManus as George Tesman and Gray Powell as Eilert Loevberg.
The production, directed by Martha Henry, is still in previews and needs tightening up, patricularly in the first act. But overall, a worthy production of a difficult play.
A Word or Two
Christopher Plummer chats at the audience, occasionally reciting or declaiming or performing as the mood strikes. It was fun to see a great actor, but it is not a play and not a great evening. If i had driven all the way from Toronto just for this, I would have been disappointed, but as I just walked over on a lovely summer evening, it was a nice way to spend an evening.
Tuesday, July 31, 2012
The Crucible
If you have never seen The Crucible, take advantage of this production, because it is not likely to get any better. It is a great cast and a great production of a great play.
The most frightening thing is how relevant the issues still are today. Superstition, mass hysteria, hatred of women, and manipulation of religious beliefs to support punishment are still common all over the world. Arthur Miller wrote this play in response go the injustices of the House UnAmerican Activities Committee, that sentenced him to jail for refusing to name names. This morning the Globe had an article about a Russian band (all three women) on trial for criticizing the government and for doing it in a church, thereby offending some people who thought they were possessed by the Devil. Too close to home, or at least too close chronologically. The Salem witchcraft trials could return again at any time.
Stuart Hughes, Patricia Fagan, Oliver Dennis and Joe Ziegler all deserve applause for their excellent performances.
The most frightening thing is how relevant the issues still are today. Superstition, mass hysteria, hatred of women, and manipulation of religious beliefs to support punishment are still common all over the world. Arthur Miller wrote this play in response go the injustices of the House UnAmerican Activities Committee, that sentenced him to jail for refusing to name names. This morning the Globe had an article about a Russian band (all three women) on trial for criticizing the government and for doing it in a church, thereby offending some people who thought they were possessed by the Devil. Too close to home, or at least too close chronologically. The Salem witchcraft trials could return again at any time.
Stuart Hughes, Patricia Fagan, Oliver Dennis and Joe Ziegler all deserve applause for their excellent performances.
Speed the Plow
I hated the first fifteen minutes of this play. Nobody talks like this, or maybe everybody talks like this. It is irritating to watch. The dialogue bounces back and forth between the two characters, Jordan Pettle and Ari Cohen, each protesting friendship, gratitude, luck, thanks, etc,etc, all with a complete lack of sincerity. You just know that one will screw the other, given half a chance! And along comes Karen (Sarah Wilson) to provide the chance.
Eventually, you settle into the rythmn of the play and enjoy the battle without ever really knowing who to root for.
David Mamet is generally considered a great American playwrige, but I remain unconvinced.
Eventually, you settle into the rythmn of the play and enjoy the battle without ever really knowing who to root for.
David Mamet is generally considered a great American playwrige, but I remain unconvinced.
Wednesday, July 18, 2012
Henry the Fifth
Des McAnuff's last opportunity to direct a play by Shakespeare at the Stratford Festival was certain to be a block buster. Henry the Fifth provides the scope, with the hero king, the battles, the comedy and the love scenes. McAnuff took advantage of it all. The staging was tremendous, over sized and glorious. The cast was excellent, with Aaron Krohn in the lead, Tom Rooney as Pistol, Randy Hughson as Bardolph, Lucy Peacock as Pistol's wife, Gareth Potter as the Dauphin and Bethany Jillard as the Princess Catherine and Ben Carlson as Fluellen. The large cast was full of other great actors filling smaller roles.
In spite of all of this, the production was good but not fabulous. I think McAnuff forgot about the words. The two big speeches are almost passed over. Some people felt that Aaron Krohn was not up to the role, but I think this was a failure by the Director, not the actor. This was particularly evident in the St Crispin's Day speech. Krohn was left alone on the stage, speaking to an almost invisible group of followers located on the floor at the foot of the stage. Instead of inspiring his men, he seemed to be talking to himself. This reduced the impact of the speech to the point where it was just another speech and not the most important speech in the play.
Hirsch
I had been looking forward to this play since I read Martin Knelman's book Stratford Tempest in which he claimed that Hirsch could not warm to Stratford as a town because it was not Winnipeg!
And the Winnipeg enthusiasm was indeed a part of this one act tribute to Hirsch. He spent his teens in Winnipeg, living with the Shack family in the north end, and demonstrated his passion for theatre and storytelling early on, founding the Manitoba Theatre Centre in the 60's.
The play is a review of his life, from his point of view and the point of view of the actors and managers who had to deal with him. Alon Nashman who wrote and stars in it, becomes Hirsch, temper and all.
Many scenes are very funny; others are quite sad. You get a sense that the man was both brilliant and difficult. There are many in jokes, funnier to the members of the sudience who actually knew and worked with Hirsch, but still accessible to a general audience because they become caricature.
The Best Brothers
We can all imagine what it will be like, if we have not already had to deal with it - how to deal with the death of a parent. What to put in the obituary, what kind of funeral to have, what kind of food to serve. Totally unimportant, but decisions that seem so critical at the time.
Daniel MacIvor has written a delightul comedy that will survive the test of time. He captures the family dynamics perfectly, even if your family does not include a gay member, in this production played to perfection by John Beale as Kyle Best. MacIvor himself played the older brother Hamilton.
The two bicker constantly, but in the end begin to understand each other and themselves better. Each puts on a green hat and gloves as he takes on the role of Mother, a hilarious character in her own right.
Enzo the dog is the key to the relationships. You leave almost wanting a dog of your own.
Wanderlust
Robert Service was a famous Canadian poet (not great, but famous) whose two most famous poems - The Shooting of Dan McGrew and The Creation of Sam McGee - are well known to the nation. A musical about the life of Service using his poems seemed like a natural with Morris Panych, Marek Norman and Ken Macdonald handling the creative and you should have a recipe for a blockbuster.
Add Tom Rooney in the lead role, with Dan Chameroy and Randy Hughson supporting and the mix is promising indeed. Robin Hutton was charming as Louise (aka the lady known as Lou.)Lucy Peacock was an over the top drunken landlady. But the big surprise was Rooneynas a singer. Is there anything he can't do?
The result was a fun evening of theatre, but unfortunately not a smash hit. There were a couple of excellent dance numbers, but the score was unmemorable, even for the well known numbers based on the famous poems.
It is worth seeing, but won't be remembered. It seems that writing a hit musical is not easy.
Monday, July 9, 2012
The War of 1812
Sub-titled The History of the Village of Small Huts, this is one of a series of plays about Canadian History by Michael Hollingsworth. If only historynhad been presented like this - we might all know a lot more about our country and how it happened.
Eight actors ppaly about fifty characters, aided by white make-up that lends a kabuki note, large wigs and body parts, and frequent short black outs.
It was a terrific evening of theatre, different from the usual production and a very fitting choice for Canada Day 2012. Stephen Harper and the folks in Ottawa might not have appreciated the shots taken at all generals and politicians, but it was a lot more fun than the serious commercials that Heritage Canada has released to celebrate the war of 1812 as a defining moment in our history.
Eight actors ppaly about fifty characters, aided by white make-up that lends a kabuki note, large wigs and body parts, and frequent short black outs.
It was a terrific evening of theatre, different from the usual production and a very fitting choice for Canada Day 2012. Stephen Harper and the folks in Ottawa might not have appreciated the shots taken at all generals and politicians, but it was a lot more fun than the serious commercials that Heritage Canada has released to celebrate the war of 1812 as a defining moment in our history.
A Man and Some Women
Once again JackieMaxwell has unearthed a gem by Githa Sowerby. A man (Graeme Somerville) sacrifices his career to do what is expected of him - provide a home and an income for his wife and sisters.
They expect him to do it, so do not waste time being grateful, or even thankful. The portrait of a marriage based on nothing is particulalry hard to watch. Jenny L. Wright is particulalry awful in her constant demand for more money. we liberated women have to supress an urge to smack her and suggest she get a job. The two sisters , played by Kate Hennig and Sharry , demonstrate what happens when boredom is the only option. With no income, no husband and no hope they become selfish, entitled and demanding.
Marla Mclean, who has a job and an income is the author's heroine. She can be unselfish and caring, looking after her nephew and after Jack. with her support, Jack finally stands up for himself and leaves. he women are not destitute - he is not such a cad as to leave them with nothing, but they will finally have to recognise that there is a limit to the money available. If they want more they will have to earn it, but you know that of course, they will not.
A great cast did an excellent job of presenting a social critique, without the need to harangue the audience. Shaw himself could have learned a few things from Sowerby.
They expect him to do it, so do not waste time being grateful, or even thankful. The portrait of a marriage based on nothing is particulalry hard to watch. Jenny L. Wright is particulalry awful in her constant demand for more money. we liberated women have to supress an urge to smack her and suggest she get a job. The two sisters , played by Kate Hennig and Sharry , demonstrate what happens when boredom is the only option. With no income, no husband and no hope they become selfish, entitled and demanding.
Marla Mclean, who has a job and an income is the author's heroine. She can be unselfish and caring, looking after her nephew and after Jack. with her support, Jack finally stands up for himself and leaves. he women are not destitute - he is not such a cad as to leave them with nothing, but they will finally have to recognise that there is a limit to the money available. If they want more they will have to earn it, but you know that of course, they will not.
A great cast did an excellent job of presenting a social critique, without the need to harangue the audience. Shaw himself could have learned a few things from Sowerby.
Thursday, June 28, 2012
French Without Tears
Another piece of fluff, this time by Terence Rattigan. It was amusing but unmemorable. I did think that given the abundance of French immersion classes for civil servants in this country, the setting could have been changed and the politics updated to add a little more bite.
But as it was, it was an amusing evening anf nothing more.
But as it was, it was an amusing evening anf nothing more.
Ragtime
We did not plan to see this musical, but it was hot outside, the theatre was cool and we kept hearing how great it was, so we went. A wise decision as it turned out, as Jackie Maxwell did a great job directing this rambling musical based on the novel by E. L. Doctorow.
I did not particularly like the novel and was surprised by how much better the musical form fit the story. I did wonder how the Americans in the audience felt about this rather negative view of their history, as I found some of the portrayals of racist behaviour uncomfortable to watch. But perhaps I worry unnecessarily, as the audience was fully ebgaged in watching the performance and gave it an enthusiastic standing ovation.
One of my definitions of a great musical is that I should leave humming. This does not happen, as I had never heard any of the songs before and none stuck with me. So in my view this is an excellent production of a good musical. But not great.
The staging was very effective and visually dramatic. The cast was uniformly good, as expected at Shaw. Thom Allison has the big voice and the big number.
I did not particularly like the novel and was surprised by how much better the musical form fit the story. I did wonder how the Americans in the audience felt about this rather negative view of their history, as I found some of the portrayals of racist behaviour uncomfortable to watch. But perhaps I worry unnecessarily, as the audience was fully ebgaged in watching the performance and gave it an enthusiastic standing ovation.
One of my definitions of a great musical is that I should leave humming. This does not happen, as I had never heard any of the songs before and none stuck with me. So in my view this is an excellent production of a good musical. But not great.
The staging was very effective and visually dramatic. The cast was uniformly good, as expected at Shaw. Thom Allison has the big voice and the big number.
Present Laughter
Noel Coward fluff, but good fluff. The characters are charming, even when they are behaving badly. Steven Sutcliffe was great as Garry Essendine, Claire Julien was his match as Liz Essendine.
mary Haney gave a restrained performance as the long suffering secretary Monica Reed.
A noteworthy new comer is Jonathan Tan, who gave us an amazingly funny, hyperactive and gymnastic Roland Maule.
All other parts were equally well played.
The set was divine -Keith wants to move in.
mary Haney gave a restrained performance as the long suffering secretary Monica Reed.
A noteworthy new comer is Jonathan Tan, who gave us an amazingly funny, hyperactive and gymnastic Roland Maule.
All other parts were equally well played.
The set was divine -Keith wants to move in.
His Girl Friday
Not ready for prime time! A good cast, an amusing play, but not a good production.
It seemed that director Jim Mezon could not decide if he was directing a farce, a melodrama or a romantic comedy, as elements of all thrre showed up.
The most jarring element was the hounding and death of Molly Malloy. The sinister actions of the pack of heretofore bumbling reporters came out of nowhere. It was frightening and effective, but wrong in the overall context of the play. It was so jarring that when we got home we watched the Cary Grant movie version to see hoe the movie handled it. The scene was there. The difference was that Molly is shown to survive the fall. This did not happen in the play, and in my opinion, was a serious error.
Good performances by Ben Campbell and Nichole Underhay, as expected.
It seemed that director Jim Mezon could not decide if he was directing a farce, a melodrama or a romantic comedy, as elements of all thrre showed up.
The most jarring element was the hounding and death of Molly Malloy. The sinister actions of the pack of heretofore bumbling reporters came out of nowhere. It was frightening and effective, but wrong in the overall context of the play. It was so jarring that when we got home we watched the Cary Grant movie version to see hoe the movie handled it. The scene was there. The difference was that Molly is shown to survive the fall. This did not happen in the play, and in my opinion, was a serious error.
Good performances by Ben Campbell and Nichole Underhay, as expected.
Frankenstein
Another brilliant production from the National Theatre, Live. The concept of alternating performances, with Benedict Cumberbatch and Jonny Lee Miller playing both the monster and Frankenstein, was sufficiently interesting to overcome the bad memories of a Canstage production from a couple of years back. That one was so bad, we left at the intermission. This one was so good, we wanted to give the cast a standing ovation, which is a bit silly in a movie theatre!
From the opening scene where the monster literally rips himself out of the womb, to the final trudge off stage, this was a dramatic tour de force.
Nick Dear wrote the script, based on Mary Shelley's novel:I now feel a need to reread the book to see what was original and what came from the book. Giving the monster a voice gave the monster the humanity needed to be sympathetic. In the movies, a close-up on the monsters eyes may be enough to let you see his suffering. In a play, he needs to speak, and Dear has him speak brilliantly. He stutters and stammers as thoughts of increasing sophistication burst from his brain. He is witty, charming, pathetic, and sad. He is angry and demands justice and finally revenge.
Danny Boyle directed, using the revolving stage effectively. The lighting affects from the ceiling chandelier were as shocking as they were meant to be.
The two lead actors were brilliant. Each performance was different, but equal. The double challenge they undertook, playing both lead parts was worth the challenge to the audience in committing to see the play twice in ten days. In fact, I could happily have watched it two days running.
From the opening scene where the monster literally rips himself out of the womb, to the final trudge off stage, this was a dramatic tour de force.
Nick Dear wrote the script, based on Mary Shelley's novel:I now feel a need to reread the book to see what was original and what came from the book. Giving the monster a voice gave the monster the humanity needed to be sympathetic. In the movies, a close-up on the monsters eyes may be enough to let you see his suffering. In a play, he needs to speak, and Dear has him speak brilliantly. He stutters and stammers as thoughts of increasing sophistication burst from his brain. He is witty, charming, pathetic, and sad. He is angry and demands justice and finally revenge.
Danny Boyle directed, using the revolving stage effectively. The lighting affects from the ceiling chandelier were as shocking as they were meant to be.
The two lead actors were brilliant. Each performance was different, but equal. The double challenge they undertook, playing both lead parts was worth the challenge to the audience in committing to see the play twice in ten days. In fact, I could happily have watched it two days running.
Sunday, June 3, 2012
The Matchmaker
What fun! A tremendous performance to finish opening week on a high note. Director Chris Abraham took full advantage of the comedic talents of his cast, adding tremendous physical comedy to the amusing dialogue of Thornton Wilder. This could have been another dated play in the hands of a less adventurous and talented group.
I know that Mike Sharra is brilliant at physical comedy and he certainly demonstrated that again as Cornelius Heckl. Seana McKenna has no equal when it comes to sly glances and arch asides. Geraint Wyn Davies is always funny as a sly drunk, and loves to connect directly with the audience as he did when he gave his advice about not supporting more that one vice at a time. Nora McLellan, who played the Matchmaker the last time I saw this play was hilarious as usual.
But the real surprises were Tom McCamus as Horace Vandergelder, Cara Ricketts as Ermengarde and Andrea Runge as Minnie Fay. These dramatic actors demonstrated a whole new range of talents and reinforced the amazing strength of the Stratford company.
I will also be watching for Josh Epstein and Victor Dolhai in the future, both of whom demonstrated great comedic talents as Barnaby and the waiter, Auguste, respectively.
Anyone who decides not to see this play because they have seen it before is missing a great opportunity. You may have seen the play, but not this play!
I know that Mike Sharra is brilliant at physical comedy and he certainly demonstrated that again as Cornelius Heckl. Seana McKenna has no equal when it comes to sly glances and arch asides. Geraint Wyn Davies is always funny as a sly drunk, and loves to connect directly with the audience as he did when he gave his advice about not supporting more that one vice at a time. Nora McLellan, who played the Matchmaker the last time I saw this play was hilarious as usual.
But the real surprises were Tom McCamus as Horace Vandergelder, Cara Ricketts as Ermengarde and Andrea Runge as Minnie Fay. These dramatic actors demonstrated a whole new range of talents and reinforced the amazing strength of the Stratford company.
I will also be watching for Josh Epstein and Victor Dolhai in the future, both of whom demonstrated great comedic talents as Barnaby and the waiter, Auguste, respectively.
Anyone who decides not to see this play because they have seen it before is missing a great opportunity. You may have seen the play, but not this play!
Cymbeline
Wonderful, amazing, brilliant, fabulous - all are adjectives that came to mind during and after this show!
There are many reasons this play is not frequently performed. The plot is complicated; it is difficult to describe what it is about since it is about so many things. It is difficult to read and hard to follow. The brilliance of this production lay in the way Antoni Cimolino, the director, managed to separate all the threads of the plot and then bring them all together at the end for a happy conclusion. The bad guys were punished and the good guys triumphed - a very satisfactory conclusion indeed.
Direction was essential, but so was a great cast. Cara Ricketts and Graham Abbey were excellent as Innogen and Posthumous. Mike Shara was hilarious as the disgusting Cloten. Yanna McIntosh was the perfect evil Queen. Peter Hutt scuttled about as the doctor. Tom McCamus was a tremendous cad as Iachimo and Geraint Wynn Davies was majestic as Cymbeline.
The Patterson remains my favourite stage for Shakespeare. somehow the constraints of the stage inspire directors to great things and this was no exception. The fight scenes were amazing, the lighting was brilliant.
At the intermission, the mood of ghe audience was almost hesitant, as though no one could believe that we were really seeing something this good. But by the end of the play, there was no doubt and the standing ovation was real, immediate and enthusiastic.
There are many reasons this play is not frequently performed. The plot is complicated; it is difficult to describe what it is about since it is about so many things. It is difficult to read and hard to follow. The brilliance of this production lay in the way Antoni Cimolino, the director, managed to separate all the threads of the plot and then bring them all together at the end for a happy conclusion. The bad guys were punished and the good guys triumphed - a very satisfactory conclusion indeed.
Direction was essential, but so was a great cast. Cara Ricketts and Graham Abbey were excellent as Innogen and Posthumous. Mike Shara was hilarious as the disgusting Cloten. Yanna McIntosh was the perfect evil Queen. Peter Hutt scuttled about as the doctor. Tom McCamus was a tremendous cad as Iachimo and Geraint Wynn Davies was majestic as Cymbeline.
The Patterson remains my favourite stage for Shakespeare. somehow the constraints of the stage inspire directors to great things and this was no exception. The fight scenes were amazing, the lighting was brilliant.
At the intermission, the mood of ghe audience was almost hesitant, as though no one could believe that we were really seeing something this good. But by the end of the play, there was no doubt and the standing ovation was real, immediate and enthusiastic.
Much Ado About Nothing
The official opening night production of the Festival's 60th season featured knock out performances by Ben Carlson and Deborah Hay as Benedick and Beatrice. Both actors have the ability to speak Shakespeare's words so clearly that you don't miss a word of the very funny dialogue. Both can say as much with a glance or a wink as most actors need paragraphs to convey. They can be serious, but they are also very funny. (As I write this I have an image of the two of them as Petruchio and Kate - that would be a cast worth seeing!)
The production lived up to Straford's highest standards, with no weak moments or performances. it was thoroughly enjoyable and well worth the standing ovation it received. And yet, as a production it was not particularly memorable. it was set in Brasil but somehow the setting had very little impact. It could have been anywhere vaguely Latin flavoured - Spain, Italy Portugal - the music, sets and costumes did not have enough impact to make it memorable.
Outstanding performances by Juan Chioran, Bethany Jillard, James Blendick and the rest of the cast contributed to the high quality of the production. i did have some concerns about Gareth Potter's Don John. He was withdrawn to the point of almost disappearing and you had to wonder why anyone listened to his slanders.
It was a great start to the season and a demonstration that a performance can be worth a standing ovation even if it will be forgotten soon. Of course, the audience on a first night tends to be full of fans, but to suggest that had an impact on the reaction would be cynical. Some times fans are the harshest critics, but this audience was definitely enjoying the whole evening.
The production lived up to Straford's highest standards, with no weak moments or performances. it was thoroughly enjoyable and well worth the standing ovation it received. And yet, as a production it was not particularly memorable. it was set in Brasil but somehow the setting had very little impact. It could have been anywhere vaguely Latin flavoured - Spain, Italy Portugal - the music, sets and costumes did not have enough impact to make it memorable.
Outstanding performances by Juan Chioran, Bethany Jillard, James Blendick and the rest of the cast contributed to the high quality of the production. i did have some concerns about Gareth Potter's Don John. He was withdrawn to the point of almost disappearing and you had to wonder why anyone listened to his slanders.
It was a great start to the season and a demonstration that a performance can be worth a standing ovation even if it will be forgotten soon. Of course, the audience on a first night tends to be full of fans, but to suggest that had an impact on the reaction would be cynical. Some times fans are the harshest critics, but this audience was definitely enjoying the whole evening.
Forty Second Street
I love tap dancing and fabulous costumes, so how could I not like this show? and I did like it, but I still had a feeling that even a great production could not disguise the fact that it seemed dated and silly. The friends who came with me were enthusiastic and loved every minute. but while I enjoyed it, I thought it was just not the right thing for Stratford. My friends were not hampered by this concern none had ever been to Stratford before and were not likely to return. They had no expectations and were perhaps even wondering how such a show could happen in this small town. Those of us who have been Festival regulars forget that the whole world is not focused on Stratford, that many people claim not to like Shakespeare, and that even regular theatre goers in other cities may not see Stratford as the centre of Canadian culture.
Anyway, my friends liked the show, the audience liked the show, I liked the show, but just as a piece of fluff for a Saturday afternoon.
I did think that the scene in which Julian gives his inspirational speech to Peggy was hilarious and could be used to great effect in management courses, demonstrating how not to motivate your team.
Anyway, my friends liked the show, the audience liked the show, I liked the show, but just as a piece of fluff for a Saturday afternoon.
I did think that the scene in which Julian gives his inspirational speech to Peggy was hilarious and could be used to great effect in management courses, demonstrating how not to motivate your team.
The Real World?
Michel Tremblay again deals with family secrets and the resulting family dynamics. Who knows what, who tells what and what are the consequences when no one says anything?
This production had, as usual at Tarragon, a stellar cast with Mathew Edison as Claude; Cara Gee as Mariette 1; Sophie Goulet as Mariette 2; Tony Nappo as Alex 1; Cliff Saunders as Alex 2; Jane Spidell as Madeleine 1; and Meg Tilly as Madeleine 2.
The story of a marriage and a family seen from the past and the present and from the perspectives of different family members, reminds how hard it is to know what is really true. The collapse of a major piece of the back of the set in mid performance, although certainly unplanned, actually served to reinforce this sense. What is the play and what is the real world?
For the second night in a row, (see Home) the audience was fully engaged, paying attention to every word, applauding enthusiastically at he end, but not offering a standing ovation. Maybe audiences are getting more sophisticated at last.
This production had, as usual at Tarragon, a stellar cast with Mathew Edison as Claude; Cara Gee as Mariette 1; Sophie Goulet as Mariette 2; Tony Nappo as Alex 1; Cliff Saunders as Alex 2; Jane Spidell as Madeleine 1; and Meg Tilly as Madeleine 2.
The story of a marriage and a family seen from the past and the present and from the perspectives of different family members, reminds how hard it is to know what is really true. The collapse of a major piece of the back of the set in mid performance, although certainly unplanned, actually served to reinforce this sense. What is the play and what is the real world?
For the second night in a row, (see Home) the audience was fully engaged, paying attention to every word, applauding enthusiastically at he end, but not offering a standing ovation. Maybe audiences are getting more sophisticated at last.
Home
The beginning conversations between Jack and Harry reminded me of the odd disjointed conversations that some elderly relatives have had - the kind of conversation that drives you crazy when you are young and scares you to death as you age and think this may be you in the future. but gradually the plays unfolds the truth - this home is some kind of asylum, or even a jail and the inmates are not just the normal befuddled elderly souls they first appear to be.
Excellent performances by Oliver Dennis, Michael Hanrahan, Brenda Robbins and Maria Vacratsis.
The play and the production kept the audience fully engaged and focused on what was happening - the applause at the end was enthusiastic and long, but not a standing ovation. It was an evening of great theatre - the kind to savour and appreciate, but not the kind that overwhelms.
Excellent performances by Oliver Dennis, Michael Hanrahan, Brenda Robbins and Maria Vacratsis.
The play and the production kept the audience fully engaged and focused on what was happening - the applause at the end was enthusiastic and long, but not a standing ovation. It was an evening of great theatre - the kind to savour and appreciate, but not the kind that overwhelms.
Saturday, May 5, 2012
MacHomer
Stratford started the 2012 season with this very funny one person show starring Rick Miller. You need to know both the Simpsons and the MacBeths to really get all the references in this story of one dysfunctional family playing another dysfunctional family.
Miller is hugely creative and energetic and the result appeals to almost everyone.
I did not know the Simpsons all that well, but I certainly recognised things my sons say and do that I had not realized were Simpsons references.
Miller is hugely creative and energetic and the result appeals to almost everyone.
I did not know the Simpsons all that well, but I certainly recognised things my sons say and do that I had not realized were Simpsons references.
You Can't Take It With You
Soulpepper has been demonstrating a talent for old shows that could be tired and creaky, but that in their hands are sprightly and fun.
A friend summed it up when she said she was looking forward to a play where no one died, abused drugs and where she could relax and look forward to a laugh.
Eric Peterson is great as Grandpa, the example of work life balance and proponent of small government.
You have to sympathize with Alice ( Krystin Pelleri) when she worries about how her flaky family will get along with her fiances stuffy parents. Haven't we all wondered the same thing, even if only on a smaller scale? And Alice really does have a wacky family, beautifully played by Nancy Palk as her mother, Patricia Fagan as her ballet dancing sister, Essie; Mike Ross as he brother in law, Ed. Don't forget Diego Matmoros as the dancing teacher.
the other family is equally odd, with Brenda Robbins as Tony's (Gregory Prest) mother taking the cake.
It was silly, but it was fun.
A friend summed it up when she said she was looking forward to a play where no one died, abused drugs and where she could relax and look forward to a laugh.
Eric Peterson is great as Grandpa, the example of work life balance and proponent of small government.
You have to sympathize with Alice ( Krystin Pelleri) when she worries about how her flaky family will get along with her fiances stuffy parents. Haven't we all wondered the same thing, even if only on a smaller scale? And Alice really does have a wacky family, beautifully played by Nancy Palk as her mother, Patricia Fagan as her ballet dancing sister, Essie; Mike Ross as he brother in law, Ed. Don't forget Diego Matmoros as the dancing teacher.
the other family is equally odd, with Brenda Robbins as Tony's (Gregory Prest) mother taking the cake.
It was silly, but it was fun.
Oil and Water
A play based on a true story. a US navy ship goes down, a small community in Newfoundland rescues as many sailors as possible, including one black man. the white coal mining community treat him with the most respect he has ever had in his life because they have never seen a black man before. The experience of this very brief friendship changes him and them forever.
Artistic Fraud of Newfoundland is an innovative company, founded in 1995. Robert Chafe, who wrote this play, and is a primary creator of Artistic Fraud, won the Governor General's Award for Drama in 2010.
I enjoyed this play and the way it addressed the issues of racism and poverty from a number of perspectives. Lanier Phillips, as the young sailor, joins he navy to get away from the restrictions of his home town, but finds that things are not any better when the ship goes down. but when he is rescued, he finds that not all whites are racist, a lesson he carries forward.
His daughter endures the racist taunts of the whites who object to bussing as a solution to segregation. Listening to her describe the rock throwing and obscenities hurled at kids on the bus is perhaps the most difficult part of the show. You want to turn and apologize to every black in the audience, but wonder if that in itself is not a racist reaction.
Artistic Fraud of Newfoundland is an innovative company, founded in 1995. Robert Chafe, who wrote this play, and is a primary creator of Artistic Fraud, won the Governor General's Award for Drama in 2010.
I enjoyed this play and the way it addressed the issues of racism and poverty from a number of perspectives. Lanier Phillips, as the young sailor, joins he navy to get away from the restrictions of his home town, but finds that things are not any better when the ship goes down. but when he is rescued, he finds that not all whites are racist, a lesson he carries forward.
His daughter endures the racist taunts of the whites who object to bussing as a solution to segregation. Listening to her describe the rock throwing and obscenities hurled at kids on the bus is perhaps the most difficult part of the show. You want to turn and apologize to every black in the audience, but wonder if that in itself is not a racist reaction.
Thursday, April 19, 2012
The Lover and the Poet
Kevin Kline did a reading of Shakespearean love scenes as a benefit performance for,the SW Shakespeare company atnthe Mesa Arts Center.
There were definitely similarities to the Bedford production "The Lunatic, the Lover and the Poet", done at Stratford a few years ago. Kline had three women supporting cast members (Lana Buss, Justine Hartley, Maren Maclean) which made the transitions from one play to the next more obvious and gave Kline someone to play to, where Bedford did a one man performance. It was a reading, but no less enjoyable for that, as Klien and the women all acted the roles very effectively.
Following the performance, there was an interview with Kline, moderated by Jared Sakren, with questions from the audience. Sakren and Kline went to school and toured together many years ago, and are clearly good friends. Sakren is the Producing Artistic Director of South West Shakespeare Company. We will look forward to seeing their productions next winter.
There were definitely similarities to the Bedford production "The Lunatic, the Lover and the Poet", done at Stratford a few years ago. Kline had three women supporting cast members (Lana Buss, Justine Hartley, Maren Maclean) which made the transitions from one play to the next more obvious and gave Kline someone to play to, where Bedford did a one man performance. It was a reading, but no less enjoyable for that, as Klien and the women all acted the roles very effectively.
Following the performance, there was an interview with Kline, moderated by Jared Sakren, with questions from the audience. Sakren and Kline went to school and toured together many years ago, and are clearly good friends. Sakren is the Producing Artistic Director of South West Shakespeare Company. We will look forward to seeing their productions next winter.
Was Spring
Three women, named Kitty, Kath and Kit. At first you assume grandmother, mother and daughter, but gradually it becomes clear that the three are actually one women thinking back on her life. Kitty (Clare Coulter) is the feisty elder, still pissed off with the world. Kath ( Caroline Gillis) is her middle aged self, trying to forget her past, and Kit ( Jessica Moss) is the young woman, still romantic and hoping the world will treat her well, despite having no evidence to support that hope.
I found the play fascinating, but depressing. It definitely needed great acting and fortunately all three actors were excellent.
Daniel MacIvor gets into the heads of his characters and creates memorable women.
I found the play fascinating, but depressing. It definitely needed great acting and fortunately all three actors were excellent.
Daniel MacIvor gets into the heads of his characters and creates memorable women.
Tuesday, March 27, 2012
Long Days Journey into Night
We saw the famous Stratford production done in 1994-1995 with William Hutt, Martha Henry, Petrr Donaldson and Tom McCamus, directed by Diana Leblanc, and remember it as a great evening.
this production also directed by Diana Leblanc had another very strong cast with Joe Ziegler, Nancy Palk, Evan Buliung and Gregory Prest. We even like Krystin Pellerin as the maid, Cathleen.
But O'Neill is no longer new to us, and the thought of staying for another hour of rage and destruction was just too much to bear. We left the Tyrone's to get on with it alone.
this production also directed by Diana Leblanc had another very strong cast with Joe Ziegler, Nancy Palk, Evan Buliung and Gregory Prest. We even like Krystin Pellerin as the maid, Cathleen.
But O'Neill is no longer new to us, and the thought of staying for another hour of rage and destruction was just too much to bear. We left the Tyrone's to get on with it alone.
The Small Room at the Top of the Stairs
110 minutes- no intermission. fantastic! I didn't have any desire to leave, as the play and performances were gripping. taking off from the tale of bluebeard's chamber, this play explores the nature of relationships and what happens when someone is given everything except one small thing. The room at the top of the stairs becomes immediately attractive, even if it means risking everything else.
Nicole Underhay was amazing as Grace, who goes into the room and discovers more than she wants to know. Sarah Dodd was perfect as her mother Joyce, while Clare Calnan exemplified every sister who was not the favorite! Raquel Duffy was sly and hopeful as the maid Jenny, clearly in love with Henry, the man at the centre of it all. Rick Roberts used his good looks and charm to convince everyone in the audience of the reasonable requests he was making.
The end of the play is enigmatic, but I think a happy ending is achieved. Another viewer might draw a completely different conclusion.
But we alll thought it was a great play with a great cast.
Nicole Underhay was amazing as Grace, who goes into the room and discovers more than she wants to know. Sarah Dodd was perfect as her mother Joyce, while Clare Calnan exemplified every sister who was not the favorite! Raquel Duffy was sly and hopeful as the maid Jenny, clearly in love with Henry, the man at the centre of it all. Rick Roberts used his good looks and charm to convince everyone in the audience of the reasonable requests he was making.
The end of the play is enigmatic, but I think a happy ending is achieved. Another viewer might draw a completely different conclusion.
But we alll thought it was a great play with a great cast.
My Granny the Goldfish
Started out funny, but quickly became repetitive. "Trite" is the word I used to describe it.
This is a play that should be cut back to 90 minutes and performed with no intermission, so the audience can't leave (as we did).
This is a play that should be cut back to 90 minutes and performed with no intermission, so the audience can't leave (as we did).
High Life
Four losers in search of a score - sounds depressing doesn't it? But when the losers are Diego Matamoros (Dick), Michael Hanrahan (Bug), Oliver Dennis (Donnie) and Mike Ross (Billy), the result is a fantastic evening of theatre. The play is a comedy, with laugh out loud moments, but you can't help feeling sorry for these losers, who somehow never had a chance.
It is tempting to single out one performer, but all of them were so good it seems pointless. Donnie has to pee: Dick has to keep all of them in the car -the dialogue was familiar to every parent in the audience.
The playwright, Lee MacDougall is new to me, but I will certainly keep an eye out for other productions of his plays.
Maybe I'll meet him on the street here in Stratford.
It is tempting to single out one performer, but all of them were so good it seems pointless. Donnie has to pee: Dick has to keep all of them in the car -the dialogue was familiar to every parent in the audience.
The playwright, Lee MacDougall is new to me, but I will certainly keep an eye out for other productions of his plays.
Maybe I'll meet him on the street here in Stratford.
Twelfth Night
I was thrilled to hear that the Stratford Shakespeare Festival had decided to film their 2011 production of Twelfth Night, as I thought it was the best I had ever seen. I am happy to report that it works just as well on film as on stage.
The Comedy of Errors
The combination of the National Theatre and Lenny Henry was too good to miss! Could Chef do Shakespeare?
The answer is yes - no problem! a funny role is a funny role, and Lenny Henry knows what to do with a funny role. His smiling eyes and wild grin are just as funny on stage as on TV. The big shock was seeing how much older he is, and how much weight he pas put on since his Chef days. but, it happens to all of us.
The production was inventive, combining two modern English accents to distinguish the two groups. Lenny Henry had the Jamaican beat, while the two sisters Adriana (Claudie Blakley) and Luciana (Michele Terry) stuck with estuary English. The contrast was funny and very believable.
Seeing this production I am again amazed that people still claim they can't stand Shakespeare!
The answer is yes - no problem! a funny role is a funny role, and Lenny Henry knows what to do with a funny role. His smiling eyes and wild grin are just as funny on stage as on TV. The big shock was seeing how much older he is, and how much weight he pas put on since his Chef days. but, it happens to all of us.
The production was inventive, combining two modern English accents to distinguish the two groups. Lenny Henry had the Jamaican beat, while the two sisters Adriana (Claudie Blakley) and Luciana (Michele Terry) stuck with estuary English. The contrast was funny and very believable.
Seeing this production I am again amazed that people still claim they can't stand Shakespeare!
Monday, January 30, 2012
Cruel and Tender
Big expectations here, with Atom Egoyan directing and Arsinee Khanjian starring. Alas, the expectations were not met.
The play is a modern day rewrite of Sophocles Trachiniae. The subject is war, the atrocities committed in war time and how those acts resonate at home. Lots of scope, but somehow the whole thing did not work. Unlike the critics, I had no problem hearing Khanjian and thought she was quite good. In fact the whole cast was quite good, but the writing and the direction did not support the talent.
It is easy enough to accept the plot in the original Greek play, but the modernisation resulted in a number of holes. The author tried to fit too any themes into the play that just left the audience unsatisfied. The poisoning of the General is a case in point - it gets all mixed up with a former lover who was working on chemical warfare. Just an unnecessary complication, but one the author threw in just to round out the themes of war time atrocities.
as usual, a great performance by Nigel Shawn Williams as Jonathan and by Jeff Lillico as James. Cara Ricketts Was wasted in her role, ( the out of tune karaoke was a pointless disaster) although Brenda Robins managed to deliver in spite of the direction and writing.
In spite of it all, the play did keep my attention throughout.
The play is a modern day rewrite of Sophocles Trachiniae. The subject is war, the atrocities committed in war time and how those acts resonate at home. Lots of scope, but somehow the whole thing did not work. Unlike the critics, I had no problem hearing Khanjian and thought she was quite good. In fact the whole cast was quite good, but the writing and the direction did not support the talent.
It is easy enough to accept the plot in the original Greek play, but the modernisation resulted in a number of holes. The author tried to fit too any themes into the play that just left the audience unsatisfied. The poisoning of the General is a case in point - it gets all mixed up with a former lover who was working on chemical warfare. Just an unnecessary complication, but one the author threw in just to round out the themes of war time atrocities.
as usual, a great performance by Nigel Shawn Williams as Jonathan and by Jeff Lillico as James. Cara Ricketts Was wasted in her role, ( the out of tune karaoke was a pointless disaster) although Brenda Robins managed to deliver in spite of the direction and writing.
In spite of it all, the play did keep my attention throughout.
Sunday, January 22, 2012
Penny Plain
Ronnie Burkett's puppet plays are always a mix of funny and depressing, but this is the first dystopian play. The world is going to hell and so is everyone in it. The bad news starts right away with a newscast voice over that rings too true - the financial system is in chaos, the environment has been ruined, there is crime and poverty everywhere. No surprises.
Penny Plain is an elderly blind woman who is waiting for the end, not fearing it, just waiting. the other characters in her boarding house all react to the coming end in their own ways. Tuppence refuse to let her parents kill her, but becomes Penny's dog instead, replacing Geoffrey, the dog who has gone off to become a gentleman. All actions are in vain. The end is inevitable.
When the end of the play actually does come, it is sudden and surprising, probably because we are all still hoping for something better to happen. It doesn't.
Penny Plain is an elderly blind woman who is waiting for the end, not fearing it, just waiting. the other characters in her boarding house all react to the coming end in their own ways. Tuppence refuse to let her parents kill her, but becomes Penny's dog instead, replacing Geoffrey, the dog who has gone off to become a gentleman. All actions are in vain. The end is inevitable.
When the end of the play actually does come, it is sudden and surprising, probably because we are all still hoping for something better to happen. It doesn't.
Kim's Convenience
A new play by a first time playwright, and what a beginning! Let's hope this is not just a one time wonder, but the beginning of a great career.
Ins Choi is an actor who is also at the beginning of his career, but writing may take him off the stage.
Another play about the immigrant experience, this time definitely set in Toronto and now dealing with the inter-generational conflict. The parents have struggled to give their children opportunities, but then are not sure they like what the kids choose to do with those opportunities.
The convenience store is familiar to all of us and the family dynamics ring true. Paul Sun-Hyung Lee is outstanding as the father Appa. He is funny, racist and loving. He struggles to decide what to do with the store - if he sells to a developer and retires, what will become of his story?
The scene in which he decides to train his daughter Janet (Esther Jun) to take over the store is hilarious. The scene in which he give the store to his prodigal son ( Ins Choi) is moving.
Two other scenes are worth mention. The one in which mother (Jean Yoon) and son meet in the church demonstrates the beauty of the set. A church appears where there was no church, just a convenience store. Lighting and design are superbly used. And it is hard to discuss this play without mentioning Cle Bennett who plays four roles. The marriage proposal scene is hilarious!
One of the strengths of this play is the way in which it moves from funny, to sad to philosophical, but always manages to seem real. The resolution is satisfying because the author has made you care enough about the people that you want a happy ending for everyone.
Definitely worth the standing ovation it got.
Ins Choi is an actor who is also at the beginning of his career, but writing may take him off the stage.
Another play about the immigrant experience, this time definitely set in Toronto and now dealing with the inter-generational conflict. The parents have struggled to give their children opportunities, but then are not sure they like what the kids choose to do with those opportunities.
The convenience store is familiar to all of us and the family dynamics ring true. Paul Sun-Hyung Lee is outstanding as the father Appa. He is funny, racist and loving. He struggles to decide what to do with the store - if he sells to a developer and retires, what will become of his story?
The scene in which he decides to train his daughter Janet (Esther Jun) to take over the store is hilarious. The scene in which he give the store to his prodigal son ( Ins Choi) is moving.
Two other scenes are worth mention. The one in which mother (Jean Yoon) and son meet in the church demonstrates the beauty of the set. A church appears where there was no church, just a convenience store. Lighting and design are superbly used. And it is hard to discuss this play without mentioning Cle Bennett who plays four roles. The marriage proposal scene is hilarious!
One of the strengths of this play is the way in which it moves from funny, to sad to philosophical, but always manages to seem real. The resolution is satisfying because the author has made you care enough about the people that you want a happy ending for everyone.
Definitely worth the standing ovation it got.
The Golden Dragon
Originally written in German, and presumably set in a German city, this play easily captures the Toronto immigrant experience, with one exception: even an illegal immigrant could get medical help at the emergency room of a hospital. but the interaction of the various people seemed very real.
This production had one flaw, from my perspective, which was the use of the spoken stage directions. The device got a laugh every time, but I would like to see how the play works without it.I suspect it would be much more intense, and given how it ends, the intensity might be too much, But the laughs seemed wrong. I would also like to know if this was the playwright's intention, or a diirector's decision.
The cast was very strong and able to move from part to part easily. David Fox and Anusree Roy are familiar: Lili Francks, Tony Nappo and David Yee are worth watching out for.
Overall, I enjoyed the play but would not give it the four stars that the Globe did. three or three and a half.
This production had one flaw, from my perspective, which was the use of the spoken stage directions. The device got a laugh every time, but I would like to see how the play works without it.I suspect it would be much more intense, and given how it ends, the intensity might be too much, But the laughs seemed wrong. I would also like to know if this was the playwright's intention, or a diirector's decision.
The cast was very strong and able to move from part to part easily. David Fox and Anusree Roy are familiar: Lili Francks, Tony Nappo and David Yee are worth watching out for.
Overall, I enjoyed the play but would not give it the four stars that the Globe did. three or three and a half.
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