Perfection

Created, performed and written by Mark Correia
With help from Erik Berg

Magician-comedian Mark Correia lives to present a perfect show. He asks us to write something on a piece of paper that would make his show perfect, even before we see it. I put down Gateau St. Honoré but I think that was wishful thinking.

He proceeds to set up various tricks, joking during the set up. He then rushes towards a table laden with various paraphernalia that is important to him, and completely knocks over the table.

Mark Correia is a charming presence as he bumbles through his set ups, (borrowing a cell phone for a trick and then breaking it by mistake) and jokes, and draws out the suspense of the trick. The tricks are audacious, complex, impossible (?) and eye-popping. Never mind wondering how a trick is done. It’s done by magic, silly! And Correia does it all with style.

The Chemical Valley Project

This plays in a double-bill with Perfection which seems a weird paring, but never mind.

Created by Julia Howman and Kevin Matthew Wong
Written and performed by Kevin Matthew Wong

From the program: “Aamjiwnaang, an indigenous community of 800 residents, is smothered by the Canadian petrochemical industry. Two sisters, Vanessa and Lindsay Gray, have dedicated themselves to fighting environmental racism and protecting their community’s land and water. In The Chemical Valley Project, theatre-makers Kevin Matthew Wong and Julia Howman document and explore Canada’s ongoing relationship with energy infrastructure, its colonial pas and present, and indigenous solidarity and reconciliation.”

Kevin Matthew Wong is a committed and personable guide through this thorny subject. He uses video projections on a large screen at the back of the theatre to illustrate his points. There is clever use of gauzy fabric on which are projected dialogue, images, and information. It’s smoothly delivered, and while what is happening to this community is infuriating, it’s not theatrically dramatic or a play. It’s a TED talk, a lecture. One can’t help but admire Mr. Wong’s commitment to the issue.

Nashville Stories

Written by David Bernstein and Jake Vanderham
Directed by David Bernstein

At the top of the show one of the performers says there is no program because “you would throw them out anyway.” Isn’t that why God invented re-cycling? He then read, at break-neck speed, on his cell-phone, who was in the cast. Me, I like a program. It tells you who plays what. It gives you all that neat stuff such as why they decided to do this show; it lists all the personnel, the band etc. The SummerWorks program book has some of this information but not who plays what character, so I’ll just ignore that cause it’s not important, otherwise it would have been properly provided, right?

This is about sad Garth Brooks and his friends Dolly Parton and Shania Twain and how they try to cheer him up after his marriage breaks up. It’s based on Brooks’ infamous 1999 album, ‘The Life of Chris Gaines’. The writers “conjure a surreal hoedown featuring a live bluegrass band.”

I guess ‘surreal’ is another word for ‘drivel.’ The writing is witless, deadly-unfunny, rambling, confused and only clever it seems to those performing it. They all are having such a good time at our expense. The acting is one-noted on purpose I suppose—surreal? The band plays well but I can’t remember the last time I saw a group of musicians who looked like they were bored out of their minds and would rather be anywhere but there.

I kept hearing a jangling noise behind the seats (the ‘back-stage is behind the seats in the theatre, where we could see the ‘performers’ waiting to go on.’) I thought it might be a man fondling his change in his pockets and was too deaf-stupid to hear the noise. I kept looking back to see who that might be and didn’t see anyone at first. The distracting noise continued. Eventually when I looked back there was a ‘performer’ in a short jean skirt, with rows and rows of silver bracelets on each wrist. Every time she moved her arms the bracelets clanged. They were clanging so much I thought she must be doing jumping jacks back there or semaphore with flags to occupy her time until she made an entrance. And eventually she did….to play the worst rock star in the world. How can you be in the middle of noise of your own making and not hear any of it? A puzzlement.

Nashville Stories is dreadful.

Serenity Wild

Written by Katie Sly
Directed by Audrey Dwyer

NOTE: Another production without a program and the SummerWorks Program doesn’t even list the actors because I guess the company producing this didn’t provide the names. (Sigh!).

Amy was abused by her step-father when she was younger. She now has intimacy issues with her boyfriend Liam. She is also emotionally ‘closed’. Liam seems as needy as Amy in that he’s desperate to help her and be there for her, but something as simple as hugging her eludes him.

Katie Sly has written an intriguing play about the effects of child-hood sexual abuse that has deeper implications in adulthood. While the play deals with important issues the characters talk at each other not to each other. Characters don’t listen to the argument and rather respond to the criticism that they are not listening. This makes for tedious viewing. Much of it seems like the same argument repeated.

Liam is described as loving to Amy. His behaviour and words suggest otherwise. He’s needy himself and creepy in that need. Both Amy and Liam are interesting characters that could do with re-examination and re-writing.

Explosions for the 21st Century

Written, designed and performed by Christopher Ross-Ewart
Directed by Graham Isador

What an explosive surprise of a show!

Christopher Ross-Ewart is a sound designer with an intellectually curious mind about sound in our culture and an impish sense of humour in presenting that curiosity. He takes us into his world of common sounds for shows—explosions are common as is birdsong, and the occasional fart. But then he delves deeper, explaining how our world has become noisier and more dangerous with regards to sound. Some sounds that he had to create for a show imitated sounds that were heard for real with deadly results. His explanation for making a sound more pronounced is masterful.

Christopher Ross-Ewart is a thoughtful writer with a curious imagination, a charming way of presenting his thoughts, and most important, he gets us to listen in a deeper more attentive way.

www.summerworks.ca

{ 0 comments }

Continuing in the series of our most inventive, creative theatre companies announcing their plans for the coming 2020-21 season, below are the plans and initiatives of Artistic Director Aislinn Rose for the Theatre Centre. Give a read. Quite impressive:

“Inventing the Future”
The Theatre Centre announces ambitious plans for 2020/21
Toronto, Tuesday, September 15, 2020 — This year, The Theatre Centre is embarking on what may be the most ambitious year of creation in its history. They will be supporting an unprecedented 16 projects led by 20 artists; creating two new development streams; welcoming new Creative Producers in Training and a new Associate Artistic Director; and inventing the role of Reckless Generosity Dramaturg.

“In a time when we can’t operate normally, we are taking the opportunity to experiment with operating differently,” commented The Theatre Centre’s Artistic Director Aislinn Rose. “We are taking the precious time that this moment is granting us, to consider not only what we do, but how we do it. As a team, we are excited to discover the learnings from these experiments that we can take with us into the future.”
In addition to expanding access to the Residency program, The Theatre Centre has added two new creation streams. The Explorations stream will allow artists to spend a year supported in
their pursuit of burning questions that may impact a larger work, or the future shape of their practice. The Finishing stream creates an opportunity for artists to take a work that has been in development for years into an intensive period of design and technical experimentation. “Both of these streams will allow us to see if there are new ways in which we can fill gaps in how our sector supports creation,” said Rose.

The new Residency artists are daniel jelani ellis, Nehal El-Hadi, PJ Prudat & Jonathan Seinen, Prince Amponsah & Viktor Lukawski, and Brandon Ash-Mohammed. They will be joining the four artists currently in Residency: Ian Kamau, Stewart Legere, Jennifer Tarver, and Rimah Jabr. Those artists embarking on Explorations this year will be Adam Lazarus, Anand Rajaram, Lorena Torres Loaiza, Milton Lim & Patrick Blenkarn, Neema Bickersteth & Nikki Shaffeeullah, and Thomas McKechnie. Victoria Mata will be supported in the Finishing stream.
“We may be grieving the lost opportunities we’ve experienced in recent months, and facing a future that feels uncertain, but as an organization we feel empowered by the commitments we’ve made to artists to focus on what we do best,” said Rose. “Residency is based on the principle that we say yes to following an artist’s idea without knowing where the journey of that idea will take us, or how long it will take to get there. We are walking into the dark and finding our way forward together. Our future is inventable.”

In addition to the large cohort of new artists, this year will also see the Creative Producer Training Program welcome two new trainees. Earlier this year a call for one Indigenous Creative Producer was announced, but thanks to some emergency funding, the company was able to invite two new artists into the program. Cheyenne Scott and Theresa Cutknife will work closely with the current and incoming artists, many of whom are at various stages of development.Helping The Theatre Centre navigate the year will be Seika Boye who will be joining the team as their new Reckless Generosity Dramaturg. For the last two years, the company has been involved in Metcalf Foundation’s Staging Change Program with EmcArts. Together with Boye, they’ve developed a role that gives her a bird’s eye view of the organization, where she will be able to see all the various pieces of who they are and what they do. Like any good dramaturg, she’ll be asking challenging questions and suggesting support, while holding onto the context of both the pieces and the big picture. Together, they’ll work toward answering their biggest question: “How can we be more reckless with our generosity?”

Earlier in July, The Theatre Centre also announced that Liza Paul was named the new Associate Artistic Director. In case you missed it, you can find the full story here. In her previous role as Café/Bar Curator & Manager, Paul programmed many comedy nights in the venue; this initiative culminated in her programming the hugely successful Comedy is Art festival last October. Paul played a major role in the selection of the new artists now joining the Theatre Centre’s Residency, Explorations, and Finishing programs.
“This new role is a dream, an honour, and a privilege in one glorious package, and the thrill and the gratitude run deeper than words can possibly express” Paul commented. “I am so lucky to work with this team and to have this magical opportunity to support art and art making in all its shapes and sizes. I am really looking forward to working alongside Aislinn. We’ve already had lots of opportunities to collaborate, and while we see eye-to-eye on a lot of things, we also aren’t afraid to challenge one another and I think that’s a really special combination. I really hope to
see you all in the building again one day soon. But until that time comes, please know that I will be hard at work scheming and dreaming on a future that serves us all.“

New Residency Artists:

daniel jelani ellis – Iris Malcolm Housing Co-op
Iris Malcolm Housing Co-op is a trilogy exploring ambition, currency, and community; featuring the plays Rosie, Kwik Pick, and i-and-i. Set within a housing co-op in the east end of Scarborough, the works speak to the ingenuity of Black dreaming. What happens to a dream deferred? A question posed in the poem Harlem by Langston Hughes. Hughes asked in 1951 when limitations on Black living, much less dreaming, were extremely unyielding and often physically violent. IMHC is asking in a context where the limitations manifest more covertly but with the same potent searing of the soul.
daniel jelani ellis (he/him) is a Toronto-based artist raised in Jamaica by a village of theatre artists, poets, and educators. His art practice is driven by his commitment to celebrate those of us who live within the margins. danjelani has performed on stages across Canada and the Caribbean. Recipient of The Theatre Centre’s Emerging Artist Award, Merritt Award Nomination and five Dora Award Nominations. Graduate of National Theatre School of Canada and alumnus of the Playwrights Unit at Obsidian Theatre Company and Emerging Creators Unit at Buddies in Bad Times Theatre. ellis is proud parent to plenty plants.

Nehal El-Hadi
“In this residency, I am working towards live arts events that challenge the audience to consider their relationships with technology, and to explore both positive and negative implications for racialised groups. The narrative focuses on a pair of young Black children in Toronto witnessing these changes. I invite audiences to consider near and distant futures, imagine new ways of being while combatting the anxiety that is a by-product of change, and work towards producing more just futures.”
Nehal El-Hadi is a writer, researcher, and editor. She is the Culture + Society and Science + Technology Editor at The Conversation Canada, an academic news site, and Editor-in-Chief of Studio, a magazine dedicated to Canadian craft and design. Her work explores the relations(hips) that render us human; these include the interplays between us and technologies, objects, and spaces/places, focusing on the professional fields of design, planning, journalism, and healthcare.

PJ Prudat & Jonathan Seinen – À la façon du pays
For PJ Prudat and Jonathan Seinen, this piece will be a time-travelling, multidisciplinary public performance of the very private. An exploration of their relationship, imagining what it may have been five hundred years ago, meeting under that time’s Fur Trade/colonial reality, and what has really changed since then between Indigenous women and white men on this land.
PJ Prudat and Jonathan Seinen have been friends since meeting at the University of Alberta in the early 2000s. Since then, PJ has worked primarily as a writer and actor, Jonathan as a director and actor. They have collaborated twice, on Architect Theatre’s 2015 Like There’s No Tomorrow (SummerWorks) and Saga Collectif’s 2019 Iphigenia and the Furies (On Taurian Land), nominated for seven Dora Awards. PJ is currently Creator-In-Residence at Nightswimming Theatre and a member of the Canadian Stage RBC Artist Residence Program. She has acted on stages across the country, most recently at the National Arts Centre
(Indigenous Theatre), the Belfry Theatre and the Shaw Festival. Jonathan also directed Black Boys (Saga Collectif/Buddies), and in 2020 earned an MFA from Columbia University in New York City and was awarded the John Hirsch Prize for Directing from the Canada Council for the Arts.

Prince Amponsah & Viktor Lukawski – LIMBS
LIMBS is a project that is the beginning of important research: to redefine puppetry through a differently-abled body, and what it means to manipulate without the use of one’s hands. It is a collaboration between two theatre artists, Prince Amponsah and Viktor Lukawski, who are trying to develop a project that they have yet to experience in the world of puppetry and visual theatre.
Prince Amponsah is a performer currently residing in Toronto. Since graduating from the George Brown Theatre program, he has gone on to garner credits for performance on the stage and screen. Some of which include: KILLJOYS (SYFY); The Things You Think I’m Thinking (Meraki Moving Pictures); The Threepenny Opera (Sick+Twisted and AA Battery Theatre) and SHEETS (Veritas Theatre) here at The Theatre Centre.

Viktor Lukawski is a theatre director, actor, and puppeteer who was born in Poland and raised in Canada. He is the Artistic Director of ZOU theatre company in Toronto and is a member of French-Norwegian company, Plexus Polaire. He is a graduate of École Jacques Lecoq in Paris, France, and Queen’s University in Kingston, Canada.

Brandon Ash-Mohammed
“My idea is a one-person show based on my life that explores the breakdown I had 6 years ago that caused me to stop performing. It’s what I call a ‘one person Hip-Hopera’ and in it are a series of monologues and songs that tell the story of the buildup, breakdown, and comeback I had that led me to my current life of being a successful comedian.”
Brandon Ash-Mohammed is an award-winning comedian & writer based in Toronto. His credits include being a writer on CBC’s Tall Boyz, being one of CBC’s Comics To Watch, and most recently releasing his #1 comedy album Capricornication which is the first comedy album ever released by a Gay Black Canadian.

Current Residency Artists
Ian Kamau – Loss
Ian is developing Loss, a Live-Arts Multi-Media performance that explores mental health in Afro-Caribbean communities through a personal narrative co-written by himself and his father Roger McTair. Ian Kamau is an artist, writer, and designer from Toronto. He has released seven music projects including the self-produced album One Day Soon (2011) and has published articles, short stories, and poems in publications by Vice, Coach House Press, and Book Thug. The son of pioneering filmmakers, he was the founding executive director of Nia Centre for the Arts, has a Bachelor in Design and a Masters in Environmental Studies from York University, and a Masters in Strategic Foresight and Innovation from OCAD University. His research includes cultural production, storytelling, and critical city building with a focus on mental health and actualization.

Jennifer Tarver – Bear Witness
Created in collaboration with director Jennifer Tarver, conductor Christine Duncan (The Element Choir), performer and choreographer Susanna Hood, and choreographer and writer Sara Porter.
Bear Witness is a large-scale choreographed theatrical narrative embedded in the body of a choir. Part auto-biography and part fairy tale, Bear Witness uses a multi-voiced choir as a metaphor for the human body. The work explores a common human tendency to bury or hide stories deep within our bodies. Touching on events of both trauma and joy, the work follows a journey of excavation and re-interpretation of a personal history.

Stewart Legere – The Unfamiliar Everything
A conversation and collaborative performance project between The Accidental Mechanics Group and queer artists working in different media from every major region of Canada. This extraordinary meeting of LGBTQ2+ artists is an experiment in collaboration across genres over massive distances, an exploration of the pains and beauties of queer loneliness, queer spirituality, and a celebration of the chosen family.
The artistic team includes choreographers, musicians, poets, light artists, actors, writers, video/projection designers, dancers, spoken word and performance artists.

Rimah Jabr – Broken Shapes
Rimah Jabr is a Brussels and Palestine-based playwright now working in Toronto. Jabr, along with visual artist Dareen Abbas, is creating a new performance piece (Broken Shapes) investigating what happens to humanity in the context of borders, surveillance and fear.
A young woman in a city that has been occupied for decades. On the day of her father’s funeral, she discovers his architectural drawings. Overcome with sadness, she slips into the dream worlds and imagined places that he created. What is the influence of our environment on our imagination? Is such influence hereditary? Are our actions and dreams coloured by the environment where our ancestors lived, be they an open field, the ocean or a prison cell?
Broken Shapes is a hybrid theatrical and audio-visual experience in which live performance, installation and video explore how physical surroundings affect us mentally.
Explorations

Neema Bickersteth & Nikki Shaffeeullah – Black Paris: The Notion of Song
Black Paris: The Notion of Song is an interdisciplinary performance piece that fuses music, installation, and theatrical storytelling. It draws from Alice Walker’s seminal essay In Search of Our Mothers’ Gardens; and other themes relating to the nature of art forms and ‘artists’, race and culture, moms, flowers, and beauty.
Neema Bickersteth is a creator and performer working in music and theatre. Nikki Shaffeeullah is a director and creator working in theatre and community-based arts. Moveable Beast is a collective of artists, led by Neema Bickersteth, examining culturally diverse and hybrid identities through performance, with projects including Century Song and Treemonisha.

Adam Lazarus – Bouffon
Swiss photographer Ander Petersen knows how to capture humanity. In this way, I’ve always thought of him as a master Bouffon Artist, who can highlight the deep lines of experience, and show us that we are all beautiful, grotesque, and oh just so terribly alive.
Bouffon is very alive theatre. It’s vicious. It’s visceral. It laughs at the hypocrisies of the human experience. It walks the razor’s edge of offense and necessity: we’re ugly, now watch, laugh, and admit complicity.
Bouffon is a creation lab, where a group of diverse artists will muck around in the bouffon form and create something epic.
Hailed as “Toronto’s favourite twisted clown”, and “the bouffon king”, Adam Lazarus brings a dark and comic sensibility to all of his work. He has acted as a creation director and collaborator with countless artists, and is known for dynamic and implicating solo performances, including Daughter; The Art of Building a Bunker, and Wonderland. Adam is an award-winning theatre artist and instructor whose work has been showcased nationally and around the world. He lives in Toronto with his wife Sarah, and their two children, Josephine and Oliver.

Anand Rajaram – The Monster from Inside the Third Dimension
The Monster From Inside the Third Dimension is an immersive choose-your-own-adventure 50s-horror/sci-fi-inspired project presented in a VR video game-style setting with escape room puzzles and wandering interactive characters that may be friends or foes. It’s a family-fun sto—oh no! Look out behind you! AHHH IT’S THE MONSTER FROM INSIDE THE THIRD DIMENSION!!! Anand is an award-winning improviser, actor, playwright, director, musician, teacher & puppeteer. He is an accomplished theatre performer and creator, film and tv performer as well as voiceover artist for video games and cartoons. He is artistic director of @N@f@N@, currently creating AR digital content for live streams under the banner of his company, Cardboard Dreams.

Lorena Torres Loaiza – Pandora in the Box
“We’re building a giant comic people can walk through, moving the rules of comics page layout to a 3D space. For the story, we’ll explore how hope is preserved, lost, and how it can be created anew. To begin, we’ll explore the Pandora’s box myth. She’s let evil out. The world is ruined. But unlike evil, hope won’t come out of the box by itself. Perhaps she goes in the box to find it. Or perhaps the box itself is a safe place to hide, if she can ignore hope’s naïve, pesky attitude in there.”
Lorena Torres Loaiza grew up in Colombia, and then in Canada. She works in comics, illustration, and fiction, often in a quirky visual style using fantasy elements. She likes flawed people solving problems, not heroes. Lorena has a handful of short stories and comics published, and helps with projections for local theatre sometimes. She’s a 2020 Writing Excuses Retreat Scholarship winner. Right now she’s just finished a graphic novel and is working on this Pandora comic and a new fantasy novel.

Milton Lim & Patrick Blenkarn – asses.masses
asses.masses is a solo videogame performance for multiple players about sharing the load of revolution. The narratives of multiple asses collide in a journey through the obsolescence of the manual labourer, political idealism, digital labour, and virtual revolution. In each show, audience members step forward one at a time from the herd to seize the means of production (a video game controller) and to lead us through a world of asses (donkeys) in pursuit of a life worth living.
Patrick Blenkarn and Milton Lim’s ongoing collaborations constitute a framework for investigating labour and value, utilizing game mechanics in performance, and manifesting alternative modes of discourse. Their projects are heavily informed by their respective trainings in performance making, critical thinking, and game creation. They are the co-creators of the performing arts economy trading card game culturecapital, and the archivists behind the performance archive videocan.ca.

Thomas McKechnie – Anticapitalist Ritual Magic
We’re not going to make it through the death triangle of Climate Change, Forced Migration, and Fascism without a reconnection to the spiritual.
Weird communist and erratic prophet, Thomas McKechnie is creating new rituals for a new world that’s coming. Prayers to prevent burnout. Funerals for the bosses in our heads. Renaming rituals for queers and criminals, blessing for burning cop cars, all the magic we’ll need to overthrow capitalism.
Thomas McKechnie is a playwright, bike courier, union organizer and student. His writing credits include The Jungle with Anthony MacMahon, Remembering the Winnipeg General, and 4 ½ (ig)noble truths. He was part of the paradigm-shifting union campaign to win collective bargaining rights for app-based food couriers at Foodora. He also helped found Artists for Climate and Migrant Justice and Indigenous Sovereignty. He does this with multiple overlapping mood and cognitive disorders so fuck the haters.

Finishing:
Victoria Mata – Cacao | A Venezuelan Lament
Cacao | A Venezuelan Lament, is a multi-sensorial interactive dance installation, that explores the socio-cultural-historic-political traces of Venezuela’s cacao industry through the story of two cousins reuniting. Inspired by creator and choreographer Victoria Mata’s childhood memories of playing in Venezuela’s cacao farms, cracking open cacao pods and sucking on the cotton-soft fruit. This installation is an homage to Venezuela’s cacao farmers and their resilience to preserve their way of life in the face of national crisis and the pressures of neoliberal industrialization.
Victoria Mata is a Venezuelan-Canadian settler in T’Koronto and a poly-lingual choreographer, dance artist, and activist with a background in expressive arts therapy. Mata’s career was first sculpted by pedagogic, self-directed training, which proceeded with training under internationally renowned choreographers. Mata’s sensibility to inclusion and border stories is due to her eclectic upbringing in three continents before the age of fifteen. Intersectional, multi-framed community-arts and the abolishment of violence against women are some of Mata’s passions. She has intricately woven these themes in her MFA in Contemporary Choreography and they are the foundation for some of her recognitions such as being a grant recipient of the Metcalf Foundation, a finalist of the Toronto Arts Foundation Emerging Artist Award, and 7 Dora nominations.

Creative Producers
In early March, The Theatre Centre put out a call for an Indigenous artist to join Sascha Cole and Rachel Penny in its ongoing Creative Producer Training Program. In partnership with Leslie McCue & Central Fire, and Judy Harquail, they decided to push forward with the call, and
thanks to some of the emergency funds the company received, they were able to create a second training opportunity.
“We are grateful to be welcoming Theresa Cutknife and Cheyenne Scott into our team,” said Rose. “Creative Producers work closely with artists from idea to production, so this ambitious period of creation is the perfect time for them to start.”
Cheyenne Scott is Straits Salish of the Saanich Nation/Norwegian settler descent and a theatre artist with a focus on new works. Having learned theatre through a colonial lens, she is working to Indigenize her process through personal expression and storytelling. She is passionate about supporting diverse voices and work that is challenging structures and is conscious of its relevance to today’s audiences. Cheyenne produced her play SPAWN at the rEvolver Festival and SummerWorks Festival in 2017. She is a Dora Mavor Moore nominee for co-creating Now You See Her (Quote Unquote/Why Not/Nightwood).

Theresa Cutknife (She/her) is a mixed queer Nehiyaw and Puerto Rican actor, writer, curator, storyteller, and director from Maskwacîs, Alberta located on Treaty 6 Territory and is a member of the Samson Cree Nation. Previous acting credits include: Father Penible – A Canadian Adventure of Tartuffian Proportions (Centre for Indigenous Theatre) and Tipi Confessions (Buddies in Bad Times). Theresa has worked as an assistant director for The Election (Common Boots Theatre) directed by Jennifer Brewin and After the Fire (Punctuate Theatre) directed by Brendan McMurty-Howlett. She continues her work as a curator for the 2021 Rhubarb Festival and has joined a new curatorial project with Briane Nasimok for Storytelling Toronto’s: Story Fusion Cabaret. Theresa is currently researching, developing, and co-writing her next project in and for her homelands of Treaty 6.
-30-
THE THEATRE CENTRE is a nationally recognized live-arts incubator and community hub.
Our mission is to offer a home for creative, cultural and social interactions to invent the future.

{ 0 comments }

Live and in person at Theatre Passe Muraille, Toronto, Ont. until May 1, 2022.

www.passemuraille.ca

Written by Azeem Nathoo

Directed by Jamie Robinson

Choreographed by Roula Said

Set and costumes by Anahita Dehbonehie and Niloufar Ziaee

Lighting by Jennifer Jimenez

Sound by Maddie Bautista

Composer, Roula Said

Cast: Walter Borden

Joella Chrichton

Quancetia Hamilton

Azeem Nathoo

Neta J. Rose

Roula Said

Adriano Sobretodo Jr.

Johnny Thirakul

Jennifer Villaverde

A well-intentioned, earnest attempt to examine the fall of the Muslim Empire in Andalusia and Jewish, Christian and Muslim coexistence in the 12^th century.

The Story. Ibn Rushd is a Muslim scholar, educator, scientist and personal physician to the Almohad Caliphate in Andalusia, in 1184. Times are calm with Jews being welcomed and protected in Andalusia, living peacefully with Christian and Muslims. But trouble is brewing. The Caliphate has died mysteriously. His hot-headed-hedonistic son Ya’qub assumes his place and now wants to wage war on his various enemies outside the city. A woman pilgrim with an important task seeks Ibn Rushd to try and arrange a peace with one of their enemies who are Christian. Suddenly matters are not so peaceful for the Jews. Ibn Rushd tries to negotiate a secret peace. It gets messy.

The Production.  Playwright Azeem Nathoo was fascinated by so many questions and aspects of religion in Andalusia in Medieval times. Initially he was curious about whether the peoples of Judaism, Christianity and Islam could live together in peace and if so why and if not why? There is a lot of history on both sides of the questions to ponder. He was fascinated by the literature and scientific artifacts that were used by Jews and Muslims in mathematics. He was curious about the truth of various incidents in history as it pertained to the three Abrahamic religions.

The play touches on some of these aspects without much development such as noting some revered books and the previously mentioned mathematical device. That Jews, Muslims and Christians lived in peace in Andalusia is referenced in a short reference.

For the most part 1184 is a dramatization of how Ibn Rushd acted as a diplomat/scholar/teacher to ease troubled waters in the city and then trying to quell rebellion between the Muslims and each other and then the Muslims and the Christians. The few Jews noted in the play spent most of their time either hiding or trying to escape from their enemies. For all his calmness and clarity of thought Ibn Rushd was overwhelmed by corruption, animosity, gossip and warring factions. Times don’t seem to have changed. As a first play by Azeem Nathoo, it’s well-intentioned and earnest.

Azeem Nathoo writes in a vaulted language that has enough character that could make it seem as if it would come from Medieval times. But at times the play seems plodding. Director Jamie Robinson uses the set well, negotiating his actors to use the main space, the balconies and stairways to give the sense of swift movement. Azeem Nathoo plays Ibn Rushd with calmness and quiet dignity. As Moses Maimonides, Neta J. Rose gives the character an almost modern sensibility and humor.  More work needs to be done on the cast enunciating with more clarity and projecting so that the audience can hear. Many in the cast could use more rehearsal to nail down their parts.

The production is sumptuous and beautiful. The set by Anahita Dehbonehie and Niloufar Ziaee is simple but evocative. Two pillars of material? Light? are on either side of a central staircase representing one area of the story and later the throne of a leader. There are side areas indicating Ya’qub’s (Adrian Sobretodo Jr.) bedroom; and another area up above representing the palace of the Caliphate and his Queen (Quancetia Hamilton). The costumes also by Anahita Dehbonehie and Niloufar Ziaee are rich in brocade, gold trim, enveloping robes for the Muslims—the one for Ibn Rushd (Azeem Nathoo) is particularly stunning. The costumes are equally beautiful for the Christians and simple coverings for the Jews. The Muslims wear head coverings similar to turbans, while the two Jews in the story vary in the head coverings. A bookseller (Walter Borden) wears a fez and Moses Maimonides (Neta J. Rose), a contemporary of Ibn Rushd wears a yarmulka. The design of the stage floor has markings from the three religions. The lighting by Jennifer Jimenez is also effective in being moody, provocative, seductive and secretive. Roula Said has composed a score with songs that capture the mysticism of those times. And Maddie Bautista’s sound design puts us into that world steeped with intrigue and danger around every billowing curtain.

Comment. The premise of exploring the many and various questions cited by Azeem Nathoo for 1184 was promising. I wish more of it was realized in the actual work. I was reminded of another exhibit/play that was co-produced by the Aha Khan Museum. Super-knitter, Kirk Dunn, created The Knitting Pilgrim  in which he talked about three huge panels that he knitted over 15 years that depicted the commonality and conflicts between the three Abrahamic religions: Judaism, Christianity and Islam. Stunning and informative.

A co-production between Phoenix Arts and the Aga Khan Museum.

Plays until May 1, 2022.

Running time: 2 hours (with an intermission).

www.passemuraille.ca

{ 1 comment }

Tuesday, April 19-23,  2022 7:30 pm

At Talk Is Free Theatre, Barrie, Ont.

Five Points Theatre

ORLANDO

Graphic by Michael Torontow

Orlando

Written by Sarah Ruhl

Based on the Novel by Virginia Woolf

Created by Merlin Simard and Raven John

BOOK YOUR TICKETS

Based on the Virginia Woolf novel, this is the story of a young nobleman who is drawn into a love affair with Queen Elizabeth I. For a time, life at court is interesting enough, but Orlando yearns for something more. As he strives to make his way as a poet and lover, his travels keep him at the heart of a dazzling tale where gender and gender preferences shift regularly, usually with hilarious results.

–Sarah Ruhl

‍

‍

back to WHAT’S ON

DATES

April 15-23, 2022

VENUE

Five Points Theatre

1 Dunlop Street West, Barrie

DURATION

Approximately 70 minutes

ADVISORY

Orlando is being presented in Virtual Reality. Audience members will be required to wear an Oculus Quest VR headset for the duration of the performance, and we cannot guarantee that you will leave with the same hairstyle with which you arrived.

‍

Orlando is an immersive, interactive, community experience designed for small audiences, and we can’t wait to see you. Since portions of the production directly depend on your presence, we ask those who book tickets to make use of the Free Admission Policy outlined below and inform us if you are unable to attend your scheduled performance.

SCHEDULE

Friday, April 15, 2022, 8:00 p.m.

Saturday, April 16, 2022, 8:00 p.m.

Tuesday, April 19, 2022, 7:30 p.m.

Wednesday, April 20, 2022, 7:30 p.m.

Thursday, April 21., 2022, 7:30 p.m.

Friday, April 22, 2022, 8:00 p.m.

Saturday, April 23, 2022, 2:00 p.m. (SOLD OUT)

Saturday, April 23, 2022, 8:00 p.m.

TICKETS

Free Admission

Tuesday, April 19, 2022,

Royal Alexandra Theatre, Toronto

BOY FALLS FROM THE SKY

BUY TICKETS
BOY FALLS FROM THE SKY APRIL 19 – MAY 8 ROYAL ALEXANDRA THEATRE 260 King Street West, Toronto
“ ★★★★★ Cabaret of the highest calibre!” NOW MAGAZINE
“ This is excellent musical theatre storytelling by a performer with natural star power. Jake Epstein’s Boy Falls from the Sky is from the first moment engaging and fun, his presence electric and yet relaxed, his timing perfection and the laughs strongly rooted in self-deprecating honesty. I loved this show!” THE WHOLE NOTE
“ The show Epstein has crafted with director Robert McQueen is pitch-perfect!” MOONEY ON THEATRE
MORE INFO BUY TICKETS

Tuesday, April 19-30, 2022.

Grand Theatre, London, Ont.

GROWStage

Grow

• BUY TICKETS

Grow

Book by Matt Murray
Music by Colleen Dauncey
Lyrics by Akiva Romer-Segal

Directed by Dennis Garnhum

April 19 to April 30, 2022
Opening Night April 22
Spriet Stage

Running Time: 120 minutes

Age Recommendation: 12+

Advisories: This production depicts scenes of recreational cannabis use and coarse language

Title Sponsor

Michael & Stephanie McDonald

Hospitality Sponsor

“Wherever you go, I will go.”

The Story

GROW follows Amish twins, Hannah and Ruth, as they leave the comfort of their sheltered community to explore the modern world for the first time. After arriving in Toronto, their plans quickly go up in smoke and they wind up crashing with a down-on-his-luck, illegal cannabis dealer. Their sisterhood is tested when the creation of the “world’s greatest weed” launches one of the twins to astronomical heights.

Packed with soaring songs, big laughs, and unforgettable characters, this brand-new musical comedy examines the bonds of family, the value of community, and the choices we make in order to grow

Wednesday, April 20- May 1, 2022

At Harbourfront Centre.

CoMotion Festival Brings Deaf and Disabled-led Theatre

Curated by Alex Bulmer, named one of the most influential disabled artists by UK’s Power Magazine, with over 30 professional years of experience across theatre, film, radio and education, CoMotion Festival runs April 20 – May 1, 2022.

Theatre kicks off with influential Canadian Deaf performance artist Chris Dodd. His poignant tragicomedy Deafy, blending ASL, the spoken word and surtitles, reflects on the experiences of a Deaf person existing in a hearing world to ask essential questions about community and belonging. Catch its anticipated first run at Harbourfront Centre Theatre from April 22–23, 2022.

BUY TICKETS

Thursday, April 21-May 1, 2022. Check times    

1184

Theatre Passe Muraille

“1184” runs April 21-May 1 at Theatre Passe Muraille. 
Purchase your tickets here.

A co-production by Phoenix Arts and Aga Khan Museum.
Toronto—ON. April 21-May 1, 2022 at Theatre Passe Muraille.

Phoenix Arts and Aga Khan Museum are excited to announce the world premiere of 1184, a historical retelling of the cusp of the fall of the Muslim Empire in Andalusia. This fall occurs after 500 years of Convivencia or coexistence between Muslims, Christians, and the Jewish people.
What lessons can we learn as we embark upon a journey through our Medieval past? Can peoples from these three major Abrahamic religions truly coexist? Join us as we welcome you to 12th century Andalusia!

LISTINGS INFORMATION
Event: 1184
Venue: Theatre Passe Muraille (16 Ryerson Avenue, Toronto)
Dates: April 20 (previews), April 21 (opening) through to May 1.
Times: 1pm (April 20 & 26), 2pm (April 23, 24, 30), 7:30pm (April 20-23 & 27-30), 12pm (May 1).
Duration: 120 minutes plus intermission.
Website: https://ca.patronbase.com/_TheatrePasseMuraille/Productions/1Q/Performances 

TICKETS
Previews & Students, Seniors, Accessibility, Arts Workers: $12.50.
General admission: $25.
All prices + HST & applicable service charges.
Tickets can be purchased at the door. The venue is wheelchair accessible.

Thursday, April 21-May 1, 8:00 pm

Italian Mime Suicide

Theatre Centre, Toronto, Ont.

Italian Mime Suicide

Produced by Bad New Days

Bad New Days brings Italian Mime Suicide to The Theatre Centre after a critically acclaimed, smash-hit run in Montreal, earning a “Top Ten Shows of 2021” by the Montreal Gazette.

Italian Mime Suicide is loosely based on the true story of an Italian mime who, in 2003, committed suicide claiming no one appreciated his art. With an imagistic aesthetic reminiscent of the kitsch iconography of clowns, mimes and world-weary circus acrobats, Italian Mime Suicide sensitively explores the levity within tragedy, creating a funny, poetic meditation on melancholy, the acceptance of failure and the usefulness of art in troubled times.

Italian Mime Suicide marks Bad New Days’ return to Toronto stages to ask why do we make art, why is it important, and why now?

“Italian Mime Suicide features four marvellous mimes accompanied by a turntable musician who fuses jazz, electro and traditional polyphonic singing. Through different vignettes, always funny, sad and touching at the same time, the characters depict what could have caused the despair of this mime and pushed him to end his life. […] isn’t that precisely the magic of mime? To offer only poetry and beauty, even if it is a question of interpreting the greatest tragedies…?” –Sophie Jama, pieuvre.ca

Credits

Directed by Adam Paolozza & Kari Pederson
Dramaturgy by Kari Pederson
Text by Adam Paolozza
Creative Producer Victor Pokinko
Assistant Producer Madeline Disera

Original music composed by Arif Mirabdolbaghi & performed by SlowPitchSound (aka Cheldon Paterson)
Featuring Rob Feetham, Nicholas Eddie & Adam Paolozza
Lighting Design by Andre Du Toit
Costumes, set & projections by Evgenia Mikhaylova, based on original designs by Allie Marshall (costume) & Anahita Dehbonehie (set & projections)

Tickets

Tickets are $15-60; A limited number of PWYCA tickets, for any price, available in cash at the door each night.

Venue

Franco Boni Theatre

Performance Dates

Thursday, April 21 – 8 pm (Preview)

Saturday, April 23 – 8 pm (Opening)

Sunday, April 24 – 3 pm

Tuesday, April 26 – 8 pm

Wednesday, April 27 – 8 pm

Thursday, April 28 – 8 pm

Friday, April 29 – 8 pm

Saturday, April 30 – 3 pm

Saturday, April 30 – 8 pm

Sunday, May 1 – 3 pm

This performance is 1 hour

{ 0 comments }

Tues. April 5, 2022 at 7:00

An IMM-Permanent Resident

As part of the RISER Festival from Why Not Theatre

If love travels the seven seas, who’s an immigration officer to disagree? 

Produced by Nautanki Bazaar
Presented as part of Why Not Theatre’s RISER Toronto

A comedy infused with Bollywood elements, An IMM-Permanent Resident is a hilarious take on the mundane and tiresome bureaucracy of the Canadian Immigration process, as experienced by playwrights and real-life couple, Himanshu and Neha.

The play explores the irreverent journey to obtain Neha’s PR status, including the couple’s trials and tribulations as they put their hopes and dreams on pause (indefinitely). Through wit and creative banter, this fast-paced roller coaster transports us between Mumbai and Toronto, as Neha and Himanshu navigate the immigration system and ask themselves – is love worth it all?

This project is part of Why Not’s PROVOKE stream of activities. PROVOKE projects are about creating change in our community, city and world.

SHOW INFO

VENUE

The Theatre Center, BMO Incubator
1115 Queen St W, Toronto

DATES

April 1 at 7pm (preview performance)
April 2 at 7pm
April 3 at 2pm (post-show talk-back)

April 5 at 7pm (relaxed performance)
April 6 at 7pm
April 7 at 7pm
April 8 at 7pm (post-show talk-back)
April 9 at 7pm
April 10 at 2pm

TICKETS

Available for purchase online
or via email at boxoffice@theatrecentre.org 

CAST & CREATIVE

ABOUT NAUTANKI BAZAAR

Tues. April 5—May  15^th , 2022 at 7:30 pm

The Antipodes

By Annie Baker

At the Coal Mine Theatre, Toronto, Ont.

“A room full of people trying to create a story is perhaps the best metaphor for theatre there is. And Annie Baker, without question one of the best playwrights alive today, examines it with her exceptional powers at their peak. She gives us real human beings and great stakes. She gives us humour that shocks and surprises. Keen intellect. Love of storytelling. Pathos. Sadness. Folly. Power dynamics. And she adds a magical realism to it all that is just tantalizingly beyond our grasp. This play comes to Toronto at exactly the right time. After two years of pandemic living, it’s time to gather and share what humans have been sharing since the first sapiens gathered around the fire – stories.“ Director Ted Dykstra on The Antipodes by Annie Baker

BUY NOW

The Antipodes Dates: Second Preview: Tuesday, April 5th, 2022 Opening Night: Wednesday, April 6th, 2022 Closing: Sunday, May 15th, 2022

Tue. April 5-May 8, 2022

ROOM

Written by Emma Donoghue

Mirvish Productions.

Princess of Wales Theatre, Toronto, Ont.

Emma Donoghue’s bestselling novel Room has now been adapted as a new play with songs by Scottish songwriters Kathryn Joseph and Cora Bissett. Previously adapted by Donoghue for the screen, the film won Academy Awards^®, Golden Globes and BAFTAs.

Kidnapped as a teenage girl, Ma has been locked inside a purpose built room in her captor’s garden for seven years. Her five year old son, Jack, has no concept of the world outside and happily exists inside Room with the help of Ma’s games and his vivid imagination where objects like Rug, Lamp and TV are his only friends. But for Ma the time has come to escape and face their biggest challenge to date: the world outside Room.

You will not want to miss this “story that is in some ways a harrowing one, that brings many in the audience to tears. Yet is also a tremendously beautiful, vivid and uplifting show about the power of a mother’s love.” (The Scotsman)

A co-production with Covent Garden Productions and the Grand Theatre, London, Canada.

www.mirvish.com

Wednesday, April 6-24, 2022

The House of Bernarda Alba

Written by Federico Garcia Lorca
Translated by David Johnston

Directed by Soheil Parsa
featuring Rhoma Spencer, Lara Arabian, Soo Garay, Monica Rodriguez Knox, Nyiri Karakas, Elizabeth Der, Theresa Cutknife,  and Beatriz Pizano as Bernarda Alba

BUY TICKETS

AN ALUNA THEATRE + MODERN TIMES STAGE COMPANY PRODUCTION

Iron-willed matriarch Bernarda Alba decrees eight years of mourning following her husband’s death, enacting a domestic lockdown that cuts her five daughters off from the world outside the walls of their home; but her daughters are women, not children, each hungers for her own place in the world. Their repression only fuels their desires for a life beyond.

The House of Bernarda Alba is Federico Garcia Lorca’s last play. Completed in 1936, it was only months later, in the early days of the Spanish Civil War, that he would be assassinated by Franco’s Fascist militia for his homosexuality and socialist politics.

Lorca’s unique theatrical style confronts naturalism. His compelling female characters mark him as one of the most extraordinary playwrights of the 20th century.

In The House of Bernarda Alba, Lorca explores the force of oppression, the conflict between individual freedom, individual desires and societal conventions and conformity. Modernity and tradition clash, showing the destructive nature of decaying traditions.

CREATIVE TEAMHOUSE CAPACITYALUNA THEATRE

DATES & TIMES

Previews
April 6-8
7:30PM

Show run
April 10-24
Tue-Sat 7:30PM
Sun 2PM

Saturday/Sunday, April 9/10, 2022

From Theatre Direct.

FESTIVAL SHOWS: April 9 and April 10 Earlscourt Park INDUSTRY SERIES SIGN-UP NOW OPEN This year’s FORWARD MARCH FESTIVAL kicks off a three-part online Industry Series for emerging artists. THE DATE FOR OUR FESTIVAL SHOWS This year’s festival features five new outdoor, site-specific pieces for young audiences and special presentations in Earlscourt Park on April 9 and 10.  The incredible line-up includes: TITA COLLECTIVE’S KWENTO Based on the Tausug folktale, Ararabuntu In The Animal World, KWENTO follows the journey of Ara, a young Filipina, as she enters the Animal Kingdom and learns what it means to be a part of a community. COLOURING BOOK THEATRE’S The Labyrinth Assembly In this interactive theatre-meets-board game experience, you’re invited to join the Labyrinth Assembly and decide the fate of your community.  SEEKING GIANTS COLLECTIVE’S Thaw Together Now A theatrical circus promenade to exit our hibernation to rediscover home. PASSING THROUGH THEATRE’S Why the River Sings Through storytelling, puppetry, and choral music, audiences are invited into an immersive theatrical experience inspired and informed by the history of Toronto’s famous lost river, Garrison Creek. SIMAIYA SHIRLEY’S A Perspective on Humanity A selection of exciting new writing and original artwork created and performed by Theatre Direct’s dynamic Teen-in-Residence Simaiya Shirley www.theatredirect.ca

{ 0 comments }

Live and in person at Theatre Orangeville, Orangeville, Ont. until March 13.

https://www.theatreorangeville.ca/our-shows/things-my-fore-sisters-saw

Written and performed by Leslie McCurdy.

Leslie McCurdy is an actress, singer, theatre creator, social activist and a curious researcher determined to inform Canadians and others of the rich history of Black Canadian women who changed the course of history. She has come by this calling naturally. She is an eighth generation Black Canadian. Her great-great-great grandfather Nasa McCurdy was an agent of the Underground Railway in which African-American slaves escaped to Canada in 19^th century.  Her father Howard E. McCurdy was a respected scientist, social activist for Black people’s rights, and a Member of Parliament for the NDP representing Windsor.

Leslie McCurdy grew up in Windsor, Ontario. She trained as a dancer and was set on joining the Alvin Ailey Dance Company in New York but an accident ended that career. Lucky for us this set back directed her into theatre where she wrote plays celebrating the achievements of Black women. The Spirit of Harriet Tubman was her first play that celebrated African-American Harriet Tubman, who was so important in leading slaves on the Underground Railway to Canada. Things My Fore Sisters Saw is her next play that celebrates four Black Canadian women in history: Marie-Joseph Angélique, Rose Fortune, Mary-Ann Shadd and Viola Desmond.

Leslie McCurdy is a wonderful storyteller and singer. She intersperses songs between segments and sings in a rich, strong, beautiful voice. She has distilled each woman’s story into a segment that captures the essence of each woman’s spirit, resolve, character and life experience. It’s enough to engage us and to want more. By making us want me, she whets our appetite to do our own research about these women and others. That is the gift of a true storyteller.

On the stage is a desk and chair stage right, a chair stage left and in the middle is a coat tree with the various costumes and head coverings Leslie McCurdy will wear for each character. She efficiently puts on a scarf or dress over her clothing for one character and then just as efficiently segues to the next character.

All four women who Leslie McCurdy talks about are fascinating. For those who think that only the United States had slavery, Leslie McCurdy sets the record straight. There was slavery in Canada.

Marie-Joseph Angélique, (born circa 1705 in Madeira, Portugal; died 21 June 1734 in Montréal, QC).  Angélique was an enslaved Black woman owned by Thérèse de Couagne de Francheville in Montréal. Angélique experienced terrible treatment both physically and psychological at the hands of her jealous owner.  Angélique was accused of setting a great fired in Montreal and she was found guilty. Was it true? We don’t actually know. What we do know is that Angélique was a strong symbol of Black resistance.

Rose Fortune, (born 1774 in Virginia; died 20 February 1864 in Nova Scotia).  Rose Fortune was a resourceful, successful business woman at a time when neither Black people or women were encouraged. She worked the docks in Annapolis Valley providing a kind of baggage service. She would help take the bags off the ships that docked there. She had great success and her business expanded. She also created a curfew for the docks and ensured the curfew was adhered to. For this she is considered the first “policewoman” in North America. She also helped those seeking freedom when they came to Canada

Mary Ann Shadd, (born 9 October 1823 in Wilmington, Delaware; died 5 June 1893 in   Washington, DC). Mary Ann Shadd was the first Black woman newspaper publisher and editor in Canada. She founded “The Provincial Freeman” that gave voice to the issues of Black people and women’s rights in Canada.

Viola Desmond (born 6 July 1914 in Halifax, NS; died 7 February 1965 in New York, NY). She was a very successful business woman and beautician in Halifax, Nova Scotia. On a business trip  to New Glasgow, Nova Scotia she went to the movies and bought what she thought was a ticket for the downstair section. She was told she would have to move to the balcony because she was now sitting in the ‘whites-only’ area. Desmond refused politely. She was arrested and forcibly removed, charged with among other things, failing to pay the one cent tax on the ticket. The matter went to the Supreme Court but justice was slow. After much effort from the Black community and others the Bank of Canada announced in 2016 that Viola Desmond would be the first Canadian woman to be featured on the $10 bill.  (A personal note: in my house these $10 bill’s with Ms Desmond on them is called “A Viola”.

Leslie McCurdy presented each story with enthusiasm and commitment. The show is very informative and engaging. And while I appreciate that Ms McCurdy has been doing this show for several years to many audiences, I think she could benefit with a director to offer an objective pair of eyes to help with pacing, nuance and the delicate variation that would take this show to the next level.

Theatre Orangeville presents

Plays until March 13, 2022.

Running Time: 1 hour, 20 minutes including a question-and-answer segment.

https://www.theatreorangeville.ca/our-shows/things-my-fore-sisters-saw

{ 0 comments }

Monday, Oct. 25, 2021. 7:30 pm. William Shakespeare’s PERICLES From Red Bull Theatre 7:30 PM EDT | LIVESTREAM A poet returns from the dead to tell the tale of Pericles, Prince of Tyre––the touching and hopeful tale of loss and reconciliation about a hero whose adventures take him through the turbulent waters of both the literal seas and the tumultuous challenges of life itself. His odyssey is an epic journey of discovery, loss, and, ultimately, redemption.

This online benefit reading of Shakespeare’s PERICLES is directed by Kent Gash and features a company of Black, Indigenous, and People of Color (BIPOC) artists, including Shirine Babb, Kimberly Chatterjee, Caroline Clay, Grantham Coleman, Callie Holley, Mahira Kakkar, Jordan Mahome, Anthony Michael Martinez, Edward O’Blenis, Bhavesh Patel, Michele Shay, Timothy D. Stickney, and Craig Wallace. GET DETAILS

GET TICKETS

Wednesday, Oct. 27, 2021

From the Almeida Theatre in London, England

MACBETH

On Line, streaming.

Priority booking for live streamed performances of The Tragedy of Macbeth Starring James McArdle and Saoirse Ronan, click the link below.

Five performances of Yaël Farber’s production will be streamed between Wednesday 27– Saturday 30 October, with the actors performing live from the theatre each night. The film will be produced by North South Culture following their work on the acclaimed live stream run of Hymn in February.

Almeida Artistic Director Rupert Goold said, “We’re delighted that so many people have booked to see The Tragedy of Macbeth in-person at the Almeida. However, there are still large numbers of audience members for whom getting to the theatre is impossible, either because they are shielding or because they can’t travel to London. Through streaming, we can take the show to them.”

Please use the link below to book.

Book live stream TICKETS

Wednesday, Oct. 27-Nov. 14, 2021

Kingston Grand Theatre

Live in person.

The Sylvia Effect

The Sylvia Effect is written and directed by Peter Hinton. Using Sylvia Plath and her poems as inspiration, this play speaks to the emotional confessions of four characters simply named: The Daughter, The Poet, The Mother, and The Son.

“Sylvia Plath became famous, partly because of the manner of her death. But as often the case with artistic success it was also a case of timing. Writing against time. This relationship to time makes her an ideal subject for the theatre. The challenge for me is to get past the tragic story to whatever core of experience or truth might wait on the other side.

For Plath privacy was something her death made public and something her life denied. Privacy involves time and space rather than any concept of secrecy. I think the facts of artists’ lives are misused but it can’t be helped. Maybe because we invest what we think of as the best of ourselves in our work – it’s disconcerting to think that anyone would be more interested in the lives we so often, in one way or another, neglect, in order to get the work done.
 
The play is intended to be played simply and directly. It is written in 5 scenes with a prologue and epilogue. A terse and precise and quick delivery is best. Pauses and breaks in the text indicate beats, not unlike stanzas in free verse. Italicized lines are quotations, and text culled from the letters, journals and poems of Sylvia Plath. The characters are isolated in a world of darkness and light, a sort of Purgatory/Inferno of a mid-century Divine Comedy.”
– Peter Hinton

Tickets: https://www.kingstongrand.ca/events/the-sylvia-effect

Thursday, Oct. 28-30, 2021

Talk Is Free Theatre

INTO THE WOODS

Live, in person

Winter Garden Theatre, Toronto.

Stephen Sondheim/James Lapine’s wonderful musical of fractured, intertwined fairy tales of searching for love, happiness and beans in the spooky woods.

This has been given two stellar productions in Barrie. Now Toronto gets a chance to see what the brilliance is all about.

Into The Woods

Thursday, Oct. 28- Nov. 12, 2021.

Opera Atelier

ANGEL

Live Streaming

Angel

Streaming Premiere Thursday, October 28, 2021 at 7:00PM ET 
Streaming Tickets $30
Streaming from October 28, 2021 – November 12, 2021

In-Person Film Premiere at TIFF Bell Lightbox
Thursday, October 28, 2021 at 7:00PM ET 
In-Person Premiere Tickets $99
‍

BUY STREAMING TICKET

BUY IN-PERSON FILM PREMIERE TICKETS 

Angel is a multi-disciplinary storytelling event that explores themes of creation, loss of innocence, isolation and redemption through the texts of John Milton’s Paradise Lost and the mystic poetry of Rainer Maria Rilke.
‍
Marking the culmination of OA’s commission for new music for baroque instruments by Canadian composer Edwin HUIZINGA with Christopher BAGAN – created over the past 4 years and featured in performances in Toronto, Chicago, and Versailles – Angel will also showcase musical excerpts by Matthew Locke, William Boyce, and Max Richter’s Recomposed by Max Richter: Vivaldi’s The Four Seasons*.
‍
Featuring Colin AINSWORTH, Mireille ASSELIN, Measha BRUEGGERGOSMAN, Jesse BLUMBERG, Meghan LINDSAY, John TIBBETTS, and Douglas WILLIAMS with the Artists of Atelier Ballet, members of Tafelmusik, (Elisa CITTERIO, Music Director) and D. Brainerd BLYDEN-TAYLOR with The Nathaniel Dett Chorale. 

Angel is dedicated to the memory of Jeanne Lamon, C.M., O. Ont., D. Litt. (1949 – 2021), Tafelmusik’s longtime Music Director and Music Director Emerita, and Opera Atelier’s beloved friend, treasured colleague and collaborator for more than 35 years.
‍
Composer: Edwin HUIZINGA 
‍Conductor: David FALLIS
‍Stage Director: Marshall PYNKOSKI
‍Choreographer: Jeannette Lajeunesse ZINGGFilm Director / Editor / Director of Photography: Marcel CANZONA
‍Set Designer / Art Director: Gerard GAUCISolo Contemporary Choreographer: Tyler GLEDHILL Translator: Grace ANDREACCHI Associate Composer / Assistant Conductor: Christopher BAGANHead of Wardrobe / Costume Designer: Michael LEGOUFFE Costume Designer: Michael GIANFRANCESCO Audio Production: Matthew ANTAL Resident Photographer: Bruce ZINGERProduction Stage Manager / Script Supervisor: Melissa ROOD*“Summer 1” and “Winter 1” written by Max Richter. Published by Mute Song Ltd. and Rough Trade Publishing. By Arrangement with Bank Robber Music.

Thursday, Oct. 28-30, 2021.

HAMLET

Streaming at the Young Vic.

Cush Jumbo. She’s brilliant.  She’s playing HAMLET. Times will differ but don’t miss this chance.

28 Oct 2021 – 30 Oct 2021

HAMLET BROADCAST

Book now

{ 0 comments }

Tuesday, August 3 – 8, 2021 and on…..

At various times, in Barrie, Ont.

WORLD PREMIERES AND BOUNDARY-PUSHING NEW WORKS FEATURED IN NEW IN-PERSON FESTIVAL

Barrie, ON….TIFT Artistic Producer Arkady Spivak announced today the programming of The Bees in the Bush Festival, featuring twelve eclectic in-person productions. Running from August 3 to October 3, 2021, all programming will be performed at outdoor locations – using parks, conservation areas, residential backyards and more, for a reduced in-person audience and with observance of current COVID-19 protocols.   The Bees in the Bush will include several productions reconfigured for an outdoors presentation, as well as boundary-pushing new works and a return of TIFT’s hit musical-in-concert in a new setting. Six world premieres will also be produced, including the musically infused cabaret based on a Greek legend; a documentary-style interactive collection of migration stories, created by DopoLavoro Teatrale (DLT); an experimental performance piece created by Simcoe Contemporary Dancers; an intimate but amplified one-person musical discussion; an immersive installation using augmented reality technology; and an explorative piece about one of history’s most divisive figures.   As previously announced, all programming will be free, and subject to TIFT’s booking policy available at www.tift.ca. Talk Is Free Theatre supporters are offered exclusive booking privileges starting on June 15, 2021. Bookings will be open to the general public starting July 5, 2021.

Further Details of the Bees in the Bush Festival programming

August 3-8, 2021, several engagements between 5 and 7pm   I & I World Premiere   Written and dramaturged by Daniele Bartolini and Anahita Dehbonehie with personal stories of newcomer artists   Directed by Daniele Bartolini and Danya Buonastella   A DopoLavoro Teatrale – DLT production   The confrontation of the self of the immigrant before and after leaving their motherland I & I is a poetic, documentary style collection of migration stories, memory treasures and rituals from different cultures where you are invited to get close and personal with a world of newcomers.   Created by Italian born Daniele Bartolini, Italian-Canadian Danya Buonastella and Iranian born Anahita Dehbonehie with a group of newcomer artists, I &I provides an opportunity of encounter for citizens of different cultural backgrounds, shining light on the life experience of newcomers to Canada.   Maximum audience capacity per performance: 4. Performance duration: Approximately 60 minutes Venue: Sunnidale Park, Barrie   August 5-8, 2021 at 6pm   ALPHONSE   Written by Wajdi Mouawad   Translated by Shelley Tepperman   Directed by Alon Nashman   a Theaturtle production, in partnership with Shakespeare in Action   “A Runaway Theatrical Success” – J. Kelly Nestruck, The Globe & Mail   Alphonse is lost, walking along a country road, weaving an intricate web of stories, while everyone is searching for him: parents, friends, teachers, the police. What they find is the thing we often give up in order to grow up.   Maximum audience capacity per performance: 20 Performance duration: 70 minutes Venue: A private residence at 801 Big Bay Point Road, Barrie, outdoors YOU FANCY YOURSELF Maja Ardal returns this summer with You Fancy Yourself, the prequel to last season’s sold-out production of Cure for Everything.   You Fancy Yourself is the story of young Elsa and her attempt to fit into a tough world after immigrating to a new country. Touring for the last 10 years across Canada and through England, the production is acclaimed for portraying the world of childhood with humour and tenderness, in a way that people of all ages can relate to.   Maximum audience capacity per performance: 20 Performance Duration: 60 minutes Venue: The backyard of a private residence, located at 23 Theresa Street, Barrie.     August 16-29, 2021 at 6pm   STUPIDHEAD!   Written and performed by Katherine Cullen & Britta Johnson   Directed by Aaron Willis   An Outside the March Production    “…riotously funny, musically charming, and emotionally resonant… a perfect blend of humour, heart, and soul.” – Kingston Theatre Reviews   A dyslexic backyard musical about not being alone.   This is a show about learning that no matter who you are, you’re not alone. After successful runs at Theatre Passe Muraille in 2017 and Kingston’s Kick & Push Festival in 2019, Talk is Free and Outside the March are teaming up with Cullen, Johnson, director Aaron Willis and designer Anahita Dehbonehie to reimagine that message for our collective isolated purgatory.   Maximum audience capacity per performance: 16 Performance Duration: 90 minutes Venue: The backyard of a private residence, located at 1076 Winnifred Court, Innisfil     Aug 19-22, 2021 at 4pm   INTO THE WOODS in Concert   Book by James Lapine   Music and lyrics by Stephen Sondheim   Directed by Michael Torontow   Music direction by Wayne Gwillim   Choreography by Lori Watson   Set design by Joe Pagnan   Costumes by Laura Delchiaro Sound Design by Josh Doerksen   Featuring Noah Beemer, Aidan deSalaiz, Griffin Hewitt, Richard Lam, Jamie McRoberts and others   “…the star for me is Director Michael Torontow. What he created was a clear reading of the musical that was inventive in its presentation, creative, illuminating and accomplished in realizing Sondheim’s difficult piece.” – Lynn Slotkin, The Slotkin Letter   Nestled whimsically within one of Barrie’s beautiful forest parks, TIFT’s hit production of Into the Woods returns by popular demand in a new outdoor setting for a unique and magical experience.   Enjoy the masterful songs of Stephen Sondheim and become immersed in the fantastical world of these beloved Brothers Grimm characters as they search for their ‘happily ever after’.   Maximum audience capacity per performance: 50 Performance duration: 2.5 hours, including one intermission. Venue: Springwater Provincial Park     August 25-28, 2021 at 6pm   CYCLOPS: A SATYR PLAY World Premiere   Written, directed, and performed by Griffin Hewitt   Original text by Euripides   Original music by Juliette Jones   Assistant direction and dramaturgy by Giovanni Spina   What happens when we allow a debaucherous and morally indifferent goat-man to take hold of one of our oldest stories of good and evil?   Cyclops: A Satyr Play takes Euripides’s only surviving Satyr comedy, and using music, dance, games, good wine, good food, and everything else you need for a good time, engages the audience in a journey to find what makes us truly free.   This production is also part of the Eternal Ego Festival   Maximum audience capacity per performance: 16 Performance Duration: Approximately 60 minutes Venue: The backyard of a private residence, located at 16 Lougheed Road, Barrie       September 8-11, 2021 at 6pm   I SEE THE CRIMSON WAVE   Written and directed by, and starring Roy Lewis   Creative Adviser Marti Maraden   “Roy Lewis instills so much joy in the telling, makes the words sound delicious and makes us fall in love with the beguiling Nat Love.” – Lynn Slotkin, The Slotkin Letter   Poet, actor, storyteller, Roy Lewis takes us on a cattle drive with legendary African American cowboy and raconteur Nat Love. Join Roy as we explore together this forgotten history of the late 19th century, from the end of American Civil War, the freeing the African Slaves, the expansion of the Railroad and the killing of the buffalo. This is an impressionistic vision in prose song and poetry. I See The Crimson Wave is a vivid reimagining of the old west which comes to life in the captivating persona of Roy Lewis.   Maximum audience capacity per performance: 14 Performance Duration: 55 minutes Venue: The backyard of a private residence, located at 59 Shanty Bay Road, Barrie     September 10-12 and 26 2021, various times   IN THE TIME BEFORE THE IMMEDIATE PRESENT AND THE TIME TO IMMEDIATELY FOLLOW V2 World Premiere   Process Facilitator Sarah Lochhead   Performers/Collaborators Jaqui Brown, Casey-lee Cooper, and Eligh Zimmerman of Simcoe Contemporary Dancers   Creative Technologist Max Lupo   Music/Sound The Base – Rich Aucoin, Remixed sound samples of The Base – Rich Aucoin Source files courtesy of Aucoin   A Simcoe Contemporary Dancers production   What happens when our live experience of performing and witnessing are mediated by technology while simultaneously dependent on our presence in the shared physical space? You are invited to be part of a performance experiment. Your presence in the space determines the sequence of events. A solo performer responds in real time to the sound cues activated by your location as read by a 360 radar. The dancer’s movements are in turn interpreted by a device that will activate a signal inviting you to find a new spot in the space — creating the next sequence of events.   Maximum audience capacity per performance: 6 Performance Duration: 25 minutes Venue: MacLaren Arts Centre Courtyard, located at 37 Mulcaster St, Barrie.     September 15-18, 2021 at 9pm   MAHAGONNY-SONGSPIEL   Written by Kurt Weill and Bertolt Brecht   Libretti by Bertolt Brecht   Musical Composition by Kurt Weill   Directed by Richard Ouzounian   Based on Mahagonny Songs, a series of five poems written by Brecht, Mahagonny-Songspiel is a small-scale scenic cantata, created by two of the 20th century’s most accomplished and versatile creative minds. This ground-breaking collection of songs set in motion the long running relationship between Weill and Brecht whose collaborations would take Germany and the world by storm.    Maximum audience capacity per performance: 25 Performance Duration: 30 minutes Venue: The amphitheatre behind the Southshore Community Centre, located at 205 Lakeshore Dr, Barrie

Thursday, Aug. 5, 2021 6 pm and 8 pm

BLINDNESS

At the Princess of Wales Theatre, live, indoors, in Toronto.

Based on the novel by José Saramago.

Adapted by Simon Stephens

Directed by Walter Maierjohanne.

With the voice of Juliet Stevenson.

A city is crippled by a plague of blindness, except for one woman. A look at human nature, evil, kindness and compassion.

The audience will be safely seated on the stage of the Princess of Wales Theatre. A stunning theatrical event.

Tickets: www.mivish.com

{ 0 comments }

Live and in person at the Stratford Festival, Tom Patterson Theatre Canopy, Stratford, Ont. until August. 1, www.stratfordfestival.ca

NOTE: All the plays in the Stratford Festival season, except Three Tall Women, are edited to about 90 minutes with no intermission and are performed under the Tom Patterson Theatre Canopy. Three Tall Women is performed in two parts (you do not ‘edit’ Edward Albee’s plays) and will be performed indoors, at the Studio Theatre.

Written by William Shakespeare

Director, Peter Pasyk

Set designer, Patrick Lavender

Costume designer, Lorenzo Savoini

Lighting designer, Michael Walton

Composer, sound designer, Reza Jacobs

Choreographer, Stephen Cota

Cast: Eva Foote

Craig Lauzon

Trish Lindström

Jonathan Mason

André Sills

Amaka Umeh

Micah Woods

Bahareh Yaraghi

Shakespeare is back at the Stratford Festival in this raucous, raunchy, bold, joyful production of A Midsummer Night’s Dream.

The Story. This is a story full of magic, mayhem, mistaken identity, fairies in the forest wreaking havoc on young lovers and lots and lots of sex.  Egeus wants his daughter Hermia to marry Demetrius, the man to whom Egeus gives consent. Hermia wants to marry Lysander. The matter is taken to Theseus, the Duke of Athens, who says that Hermia must follow the rule of law, obey her father in this matter or be put to death. (Yikes).

Hermia and Lysander decide to run away through the forest to his aunt’s house and get married there. They tell Hermia’s friend Helena of their plans. Helena in turn tells Demetrius because she’s in love with him and hopes to make points with him. They all follow each other into the forest. Add to this is a group of sweet yokels known as Mechanicals who are preparing a play for the impending marriage of Theseus and his fiancée Hippolyta; a fairy King named Oberon and his fairy Queen named Titania who keep one-upping each other; a confused spirit named Puck and magic spells gone right (a mechanical named Bottom is turned into a donkey) and spells gone wrong (oh, don’t ask!) and finally, breathlessly, it all works out. This is not a spoiler—it’s summer, it’s the magical forest, it’s hot. Strange things happen there. What did you expect?  

The Production.  Director Peter Pasyk has filled his production with invention, wit, impish humour, bold decisions and wonderful detail. With only eight actors in the production, that means there is a lot of double and triple casting.  The audience sits on two sides of the raised playing area that is in the centre of the canopy. A light mauve silky covering covers the whole stage and whatever props are already there (kudos to set designer Patrick Lavender for his effective set). As the audience settles “Dream” by the Everly Brothers plays over the sound system. I’m smiling. Then that segues into a mere snipped of Felix Mendelssohn’s music for A Midsummer Night’s Dream and I’m smiling more broadly—such an impish detail. And finally, as the cast enters André Sills lets loose with a rap song that gives the whole thing a contemporary feel to it.

When the mauve covering is removed there is a large moveable trunk on stage with an imprint of the white Tom Patterson Theater canopy on the side. (I assume the same imprint of the canopy is on the other side of the trunk for the opposite portion of the audience to see). Puck, a sprightly, spirited Trish Lindström pulls stuff out of the trunk to do magic. I like that juxtaposition—the trunk with the canopy ‘printed’ on it produces magic ‘stuff’, as does the action under the canopy where we sit.

Theseus (an imposing Craig Lauzon) and his fiancée Hippolyta (a confident, coy Bahareh Yaraghi) have just stepped out of the shower. They wear luxurious, white terry-cloth robes and her hair is wrapped high in a white towel (Bravo to costume designer Lorenzo Savoini for making every single person in that audience want those robes). The couple banters. He’s accommodating. She’s cooler, contained. But then Egeus (Trish Lindström, somber, ill-tempered and balding), Hermia (Eva Foote), Lysander (Micah Woods) and Demetrius (Jonathan Mason) also arrive, wanting justice. Theseus passes on his judgement about the law and Hermia’s duty to her father. Hippolyta lets him know she’s none too happy with the decree—she turns away with an attitude and Theseus doesn’t miss that rebuff. And we’re off on a whirl-wind journey.

The cast sit around the playing area in full view of the audience as they change costumes in front of us, often at break-neck speed. Even the timing of the changes is calculated and smartly ‘directed’ so as not to give away who will play what in the next scene. Costumes are pulled out of carry-all bags by each character’s seat, or situated in places around the set.

Peter Pasyk ramps up the speed in the forest, with Helena (a lively Amaka Umeh) and Demetrius (Jonathan Mason) now joining the fray.  Lovers try to connect or escape each other. Puck tries to keep the instructions clear about who gets the juice of a certain flower in the eye to make him/her love the person he/she is supposed to love. (I know, it’s complicated—it’s the forest, it does that to you). The Mechanicals try to rehearse their play with Bottom (an exuberant André Sills) wanting to play every part with gusto. And Oberon (a commanding Craig Lauzon), the King of the Fairies arranges for the juice of a certain flower to be put in the eye of the sleeping Titania (a perceptive, knowing Bahareh Yaraghi). Oberon says the result of that juice is that:

“The next thing then she waking looks upon

(Be it on lion, bear, or wolf, or bull,

On meddling monkey, or on busy ape)

She shall pursue it with the soul of love.”

What Titania sees when waking is Bottom, transformed into a donkey, and she is besotted.

Peter Pasyk makes a bold decision here. Rather than having Titania play it as falling helplessly under the spell, he directs Bahareh Yaraghi to play Titania as if she is on to the game and the trick, What follows is not so much Titania being in love with Bottom-the-Ass-Donkey as much as she is in lust, sexually aggressive and intoxicated with the physicality of it all. The sex is loud, raucous and a wild twist of limbs. Instead of Oberon being gleeful at his trick, he seems jealous and even embarrassed, and looks away after watching them her straddle Bottom. When Titania is ‘brought back’ out of the spell she lets Oberon know in no uncertain terms that she was wise to him. It’s a delicious moment.  I’m not sure that idea to twist the scene works completely but it’s interesting to see a director be so daring and bold.   

Sex is at the heart of what is going on in that forest. At times the four lovers are under the mauve sheet, thrashing around, gradually losing much of their clothing so that they are in their underwear at the end of it all.

When all the characters get out of that forest and return to ‘normal’ with the partners they should be with, they are clothed, joyful and dancing. They leave the audience joyful and wanting to dance themselves. This production is a dandy welcome back to the Stratford Festival.

Comment. Shakespeare is all about language. He created countless words that we use today. But our world is changing and so is language and its meaning. Words that meant one thing years ago do not have the same meaning today. In the 1890’s the word ‘gay’ meant ‘exuberantly happy’ etc. In the 20^th century the word defines homosexual. Over time some words that mean one thing in one context are hurtful in other contexts. In A Midsummer Night’s Dream in the play the Mechanicals are preparing, one of the characters has to kiss another “through a chink in the wall.” That line is now changed to read “through a kink in the wall.” Being mindful of the power of language the word changes but the meaning of the line does not.

Shakespeare always makes us think about so many things. Welcome back.

The Stratford Festival Presents:

Runs until August 1.

Running time: 1 hour, 37 minutes, (no intermission)

www.stratfordfestival.ca

{ 1 comment }