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.
Thursday, June 28, 2012
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.
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