Lynn

By Charles Gounod

Libretto by Jules Barbier and Michael Carré

Conductor, Johannes Debus

Director, Amy Lane

Set and costumes by Emma Ryott

Lighting by Charles Morgan Jones

Choreography by Tim Claydon

Cast: Alex Hetherington

Kyle Ketelsen

Megan Latham

Long Long

Szymon Mechliński

Korin Thomas-Smith

Guanqun Yu

Once again a concept is imposed on an opera that does not support it. Frustrating but terrific music and performance.

NOTE: As I have said when I review an opera, since music and signing aren’t my forte, I’m looking at the opera from the point of view of theatre. I can talk about the drama of the piece, the acting, set and costumes and the concept of the director, etc. The usual stuff for a drama.

The opera was composed by Charles Gounod, with a libretto by Jules Barbier and Michael Carré Sung in French with English surtitles.

The Story. Faust is an old man and considers himself a failure in life after efforts to succeed fail him, and plans to take his life by drinking poison. But he is interrupted by the Devil, Méphistophélès, who makes Faust an offer he can’t refuse.

Méphistophélès will give Faust youth and vigor so he can cavort with women and have a great time, but after that Faust’s soul is the Devil’s, Méphistophélès. Faust agrees. Faust is miraculously transformed into a virile, youthful man in a fitted dark green jacket. He sees the young Marguerite and falls in love with her and she him. Temptations of riches, jewels from the Devil on behalf of Faust appear and Marguerite succumbs. It ends badly for everybody except the Devil who takes Faust’s soul at the end.

The Production. The Faust story is the subject of dramas, musicals, ballets etc. So, it’s familiar. But if I look at the opera from the musical-theatre point of view, it’s interesting.

In musicals, there is a “rule” that within the first five minutes of the start of the musical, the tone, atmosphere and general sense of the story has to be established both in music and in text/lyrics. I wouldn’t apply that idea to the music in an opera. The composer of course knows what he/she/they are doing. But it’s the libretto here that was troubling.

Faust (Long Long) is old, stiff-legged and hunched. He begins by singing that he is a failure. He laments that repeatedly. He sings that he sought answers in nature and in research and in thinking etc. but he’s failed. He sings about drinking poison and ending it all. This goes on for about 15 minutes and I have no idea what he is talking about. A failure at what? He doesn’t say. I thought it a bit drastic that because he failed at whatever, he wanted to drink poison.

But then the dashing, charming, tuxedo-dressed Méphistophélès (Kyle Ketelsen) appears, with top hat and cane to help out. Méphistophélès calls Faust,” Dr.” I don’t think he’s a medical doctor, but perhaps a botanist, with that reference to nature etc. Then it comes clear: Faust wants to be young again to dally with the ladies and live a life of pleasure and perhaps in his studies as whatever Doctor, he was looking for an elixir for youth, to turn back time and make him young again. Méphistophélès says he can do that (before that Faust pleads to God with not much success). So Méphistophélès promises to change Faust into a young, virile man again with a new wardrobe but when Faust is finished living the high life, his soul is Méphistophélès’. Faust agrees. Faust is on his way to falling in love with Marguerite (Guanqun Yu) and she him, until it all ends badly.

Keeping in mind I’m looking at the opera as ‘theatre’, how was the production? I think any clarity that could serve the piece is choked out of it and smothered with the weight of the overbearing, ill-conceived concept of director Amy Lane. You have to read the program to find out what you are seeing up there on that set by Emma Ryott or why. You have to listen to an interview with Amy Lane on line to decipher her thinking.

Amy Lane envisions the opera as a game for Faust so the floor is in the design of a chess board. Really? A game?? With whom? Why a game? With whom is Faust playing, because it’s not Méphistophélès. Méphistophélès holds all the cards (wrong kind of game). And why chess? No reason given. While I was in a great seat in the orchestra, I could not see that floor clearly enough to discern the chess board.

Nor did I get a sense from Amy Lane’s staging that she was moving the pieces—characters– around as in a game of chess. Upstage on the backdrop was something that looked like a chest cavity—I was told in fact it was a pair of lungs with all sorts of veins in it. Ok, I see that. Why? There are six dwarf moveable trees with thick trunks and spindly branches. I’m figuring these are arteries and veins—in keeping the body references. In the middle of the stage is an odd, winding staircase that you realize is a spine. Singers have to climb up and down that staircase and those stairs are steep. Again, we have a designer, Emma Ryott, who doesn’t consider the singer when designing the set on which they have to move. In fact, checking with the Amy Lane’s interview—we are looking at Faust’s body. News to me. It’s not his body that is at stake here, it’s his soul. Sigh.

Amy Lane also references popular culture in her vision—films like the Wizard of Oz, films by Tim Burton. Musicals such as Cabaret or perhaps by Bob Fosse are referenced. For example, Méphistophélès is always accompanied by two scantily clad women in black tights, high heels, and form fitting corset things. I could be looking at the Kit Kat Orchestra from Cabaret or some of the dancers from Sweet Charity. I think the pièce de resistance is a character, supposedly God, in white tie, tails, heels and top hat that is emulating Marlene Dietrich.That had me rolling my good eye.

Comment. I loved the singing and thought the opera was well-acted. But this is a mess of a self-indulgent concept that does not serve the opera. If the design can’t explain itself without having to check the program or accompanying interview of the director, then it’s failed. And don’t tell me the devil made them do it.

The Canadian Opera Company in a co-production with Malmö Opera presents:

Playson Oct. 24, 27 and Nov. 2

Running time: 3 hours (1 intermission)

Guy Sprung vs. Canadian Actors Equity Association.

by Lynn on October 16, 2024

https://us02web.zoom.us/webinar/register/WN_6xRWEJJERWa_NmRjnHmzHg#/registration

Here are more details regarding the situation and a motion to Equity at its AGM

Further details regarding director Guy Sprung and his case against Canadian Actors Equity Association:

Here are the details of Guy Sprung’s case from my blog:

About Guy Sprung and his case against Canadian Actors Equity:

Now there is a member’s motion that Terry Tweed will present to Equity’s AGM Oct. 21.

Details below.

Friends, colleagues and fellow theatre artists:

Below please find the member’s motion that Terry Tweed will present from the floor as item 8 on the agenda of Equity’s AGM on October 21^st, to be seconded by Barbara Gordon.

Terry Tweed was a member of Equity National Council for over 18 years and President for six. Barbara Gordon was also a long-time Equity councillor and winner of the Larry McCance Award for outstanding contribution to our association.

If you believe that CAEA should live up to its own constitution and, “assist members in pursuing their lawful rights and remedies.” (Object vii of our Constitution),I urge you to register for our NAGM and make your vote count. If you are, as Diana Leblanc is, embarrassed and ashamed by how CAEA has treated one of its senior members, I urge you to register for our NAGM and support Terry Tweed’s motion.

If you have yet to register for our NAGM on Oct 21^st, you can do it here:

Additional information, including the meeting agenda, is available online at www.caea.com/NAGM-2024.

If you do support Terry and Barbara’s motion, I hope you will circulate this email to your own friends and colleagues in CAEA.

In the name of Canadian decency and justice, I thank you,

Guy Sprung

Here is the resolution Terry Tweed will be presenting:

RESOLUTION FROM THE FLOOR 2024 AGM

Whereas Equity once prided itself on offering the protection of a transparent and robust disciplinary process, where there was adherence to the principles of truth and justice, where ALL participants had the right to defence and appeal, including the accused, and where both sides were treated with equal fairness and respect, and

Whereas Equity in 2020 failed to assure the protection of Guy Sprung’s rights and privileges when a complaint was brought against him, failed to grant him an appeal which he had every right to expect and which forced Mr. Sprung to take legal action against his own Association, and

Whereas Mr. Sprung’s legal action resulted in a resounding victory for him, one that recognized

the wrong done to Mr Sprung through a failed and unfair disciplinary process, and that action exonerated him of any wrong doing, and

Whereas Equity, in the light of the Québec ruling also exonerated him, has continued to refuse to apologize to Mr. Sprung for its mistakes and to pay Mr. Sprung for his legal costs:

BE IT RESOLVED

That CAEA Council apologize to Guy Sprung in front of its membership for its failure to ensure that he received fair and just treatment, and to immediately reimburse Mr. Sprung for his legal costs before the Québec Superior Court, whose decision so clearly recognized the failure of Equity’s disciplinary process against him.

Terry Tweed

Member # 2099

Seconded by Barbara Gordon

Member #6434

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Review: NABUCCO

by Lynn on October 15, 2024

Live and in person at the Four Seasons Centre for the Performing Arts, Toronto, Ont. Production of Lyric Opera of Chicago, Canadian Opera Company premiere. Plays, Oct. 17, 19, 23, 25.

By Giuseppe Verdi

Libretto by Temistocle Solera

Based on the ballet Nabucodonoso by Antonio Cortese

And the play Nabuchodonosor by Auguste Anicet-Bourgeois and Francis Cornu

Conductor, Paolo Carignani

Director, Katherine M. Carter

Set by Michael Yeargan

Costumes by Jane Greenwood

Lighting by Mikael Kangas

Original lighting by Duane Schuler

Cast: Matthew Cairns

Rihab Chaleb

Wesley Harrison

Simon Lim

Charlotte Siegel

Duncan Stenhouse

Mary Elizabeth Williams

Roland Wood

And a huge COC orchestra and chorus.

Note: As opera is not my forte, I won’t comment on the singing or the orchestra. I will look at Nabucco from a theatrical point of view since that is where my knowledge is.

Giuseppe Verdi wrote his opera in 1841 and it had its first performance in 1842 in Milan, where it was wildly successful.

It’s set in the ancient time of Nebuchadnezzar (in English) (or Nobuchodonosor in Italian) who was the Assyrian King of Babylon. For the purposes of the opera I’ll refer to him as he is in the program, as Nabucco (Roland Wood).

At the beginning of the opera Nabucco was in Jerusalem set to overcome the Jews who were gathering inside the Temple of Solomon. The Jewish prophet Zaccaria (Simon Lim) was preparing to battle Nabucco’s army. He had also captured Nabucco’s beloved daughter Fenena (Rihab Chaleb). Zaccaria entrusts Fenena to Ismaele (Matthew Cairns) while he goes into battle, not realizing that Fenena and Ismaele have met and have fallen in love. Nabucco is triumphant in overpowering Zaccaria and his troops and enslaving the Jews. Another subplot involves Abigaille (Mary Elizabeth Williams), Nabucco’s adopted daughter who is jealous of Fenena and vengeful in trying to get her father’s love. She is a fierce soldier.

While there are certainly many relationships going on in the opera, this is mainly an opera of the chorus, first the chorus of the Jews and also of the Assyrians. There are 56 in this chorus in total. Costume designer Jane Greenwood dresses the Jews in black robes with the men in prayer shawls and black hats initially. The Assyrians are in robes of red. Very impressive all round.

Michael Yeargan’s set of pillars and wide staircases in the beginning of the opera suggests the large size of the Temple of Solomon. When the action transfers to Nabucco’s throne room in his palace in Act II my eyebrows knitted. The throne is at the top of a lot of stairs but you are not looking at it head on, you are looking at it from the side. First Abigaille ascended the stairs to the throne—she was taking over, she thought, and then Nabucco climbed up those stairs. Somebody wants the singers to get a workout. The whole set piece takes up half the stage it seems as we look at this throne and stairs structure. It looks like whoever is sitting on the throne is looking into the wings instead of out to the audience. I thought that odd.

Director Katherine M. Carter maneuvers the choruses with confidence and she establishes the relationships of the characters. But when Fenena is brought on as a prisoner she and her ‘captor’ are placed on a top step but behind the chorus so we can’t actually see her clearly, just her head and a bit of the shoulders and occasionally she tries to pull away. It seems rather clumsy. Considering how important her capture is she should be on view clearly in that first scene. But the other staging/direction is efficient, clear and effective.

I have heard from those who know their opera that Giuseppe Verdi was using a metaphor of the Jews to represent the Italians in Italy in 1842. The Italians felt under the oppressive yoke of various factions who ruled them: The Austrians in the North, the Pope around Rome and the Spanish in the south. It all resulted in the revolution of 1848. But I could not find any concrete evidence of this in the program or in other research—that using the Jews of ancient times represented the Italians in the 1840s. I was told that there were censors at work and perhaps Verdi could have been arrested so he was being careful.

Or it could be that those people who first saw the opera in 1842 heard a story that focused on the Jews being oppressed in Babylonian times, and applied it to their own experience of Italy in the 1840s. Today when we see/hear the opera we see the oppression of the Jews (and others) and apply it to todays angry, fractious, violent times. History keeps repeating itself, alas.

Fascinating opera.

The Canadian Opera Company presents the Lyric Opera of Chicago production:

Plays Oct. 17, 19, 23, 25, 2024.

Running time: 2 hours, 30 minutes (1 intermission)

Review: AN INSPECTOR CALLS

by Lynn on October 14, 2024

Live and in person at St. Jacobs Country Playhouse, St. Jacobs, Ont. Produced by Drayton Entertainment. Playing until Oct. 27, 2024.

www.draytonentertainment.com

Written by J. B. Priestley

Directed by Mike Shara

Set by Douglas Paraschuk

Costumes by Sean Mulcahy

Lighting by Kevin Fraser

Cast: Neil Barclay

Amos Crawley

Tyrell Crews

Tracey Ferencz

Roy Lewis

Hadley Mustakas

Caroline Taol

A good production of a play that speaks to today strangely enough.

The Story. The story takes place in 1912 in the Brumley, an industrial town in the North Midlands. Arthur and Sybil Birling are having a festive evening to celebrate the engagement of their daughter Sheila to Gerald Croft. Arthur Birling and Gerald Croft’s father own rival companies and this will join the two families. Both families are upper crust and flaunt it. They have little regard for the lower classes.

Then Inspector Goole arrives from the police station to say that a young woman was brought to the morgue that afternoon having taken her own life by drinking disinfectant and burned her insides out. The Inspector is there to question the family: Mr. and Mrs. Birling, Sheila Birling, her brother Eric Birling and Gerald Croft. Every person who is questioned knew the woman in some capacity and treated her badly. The Inspector feels they are all complicit in her death.

The Production. At the beginning of the production Edna (Hadley Mustakas) the maid sits in a chair (her back is to us), she is smoking leisurely. The order of the house is fixed and strict. She is on duty and should be at the ready. Here she is leisurely smoking and when she hears the family coming into the drawing room after dinner, she goes into ‘servant’ mode. She gets rid of the cigarette and stands at attention.

There is a tiny indication that Mr. Birling (Neil Barclay) might have designs on he—he makes a small step towards her when they are alone—she flinches in reaction. I thought that was an interesting directorial touch.

The family formally dresses for dinner for this occasion (kudos to designer, Sean Mulcahy). The set of the drawing room by Douglas Paraschuk is richly furnished in red plush padded chairs; gleaming tables and dark wooded drawing room pieces. The men drink port and smoke cigars.

When Inspector Goole (Roy Lewis) arrives he is aware of the efforts by Mr. Birling to be indignant that his respectable family would be implicated in this grizzly suicide. He’s aware of the condescending efforts of Neil Barclay as Mr. Birling and Tracey Ferencz as Mrs. Birling noses towards anyone they feel is inadequate or beneath them. Amos Crawley as Eric Birling is nervous, desperate to be invisible and angry at being thought to be inadequate. Tyrell Crews as Gerald Croft is more composed than the others, but still with that arrogant attitude. Caroline Toal as Sheila Birling, holds her own—she too is nervous plus indignant and guilty because of what she might have done regarding the young woman who took her own life. Roy Lewis as the Inspector is poised, calm, watchful, unflappable and capable of drawing these characters out only to make them confess and aware of their complicity. Through the Inspector we hear how each member of the Birling household and Mr. Croft treated the dead woman. But we see for ourselves how they treat the Inspector. In both cases it’s with disdain for anyone they feel is beneath them. That damned class system at work. J.B. Priestley is making his point.

It’s always intriguing seeing a gifted artist branch into different areas of the art form. In this case Mike Shara, who has done wonderful work as an actor at Stratford and other theatres across the country, is spreading his creative wings and is exploring directing. An Inspector Calls at the St. Jacobs Country Playhouse is his first foray into directing. He is a careful director with respect for the text. There is nothing flashy about his work that pulls focus from the play. He does inject some interesting, perceptive moments that are telling about the play, the times and the social order. He’s added that business at the beginning when Edna (Hadley Mustakas) is sitting in a chair, smoking for a relaxing moment, and the small business where Mr. Birling might have designs on Edna and she is wary. Later Edna will do something that will indicate her disgust with the behaviour of the Birlings which also is interesting. Mike Shara stages actors to stand at the corners of the room, suggesting they are filling the room. This only makes it seem as if the characters are too far from each other to comfortably engage. With more directing experience this issue will be resolved—stage the actors closer to each other to establish their relationships.

Playwright J.B. Priestley has a stage direction for Mr. Birling in An Inspector Calls regarding the appearance of the Inspector. It’s suggested that Mr. Birling describe the appearance of the actor playing the Inspector. Here he is described as ‘clean-shaven’ and ‘swarthy.’ Roy Lewis, who plays the Inspector, is Black and that adds so many other layers to the character in this context. Meaningful casting. Good production. Timely play.

Comment. J.B. Priestley wrote this in 1945 and was keenly aware of the class system that pervaded Britain right up to today, and the damage it does. He gives this remarkable speech to the Inspector when all is sort of revealed: “We don’t live alone. We are members of one body. We are responsible for each other. And I tell you that the time will soon come when, if men will not learn that lesson, then they will be taught it in fire and blood and anguish.” That speech is as timely and perceptive now as it was then. Alas.

Drayton Entertainment presents:

Plays until Oct. 27 2024.

Running time: 2 hours approx. (1 intermssion)

www.draytonentertainment.com

Review: TIME & TIDE

by Lynn on October 10, 2024

Live and in person at Mandeville Theatre, Ridley College, St. Catharines, Ont. Playing until Oct. 13, 2024 and part of the Foster Festival.

www.fosterfestival.com

Written by Jody Stevens McCluskey

Directed by Jamie Williams

Set by Beckie Morris

Costumes by Alexa Fraser

Lighting by Stacy Graham

Cast: Donna Belleville

Raquel Duffy

Rahul Gandhi

Stephen Guy-McGrath

Evelyn Wiebe

A sweet play about family.

Note: The Foster Festival, that produces the plays of Norm Foster, launched a new play development program to bring fresh new stories and voices to the Foster Festival Stage. There were 72 submissions and three were chosen for an initial production last spring. Time & Tide was one of the three. Then the audience chose the one to go on for a full production. Time & Tide was chosen by the audience to go forward for a full production. This is it.

Playwright Jody Stevens McCluskey has written a sweet play about family and devotion. It’s set in Newfoundland. Rose has come home from being away to see her family: her mother Kathleen, her father Will and her Nan (Grandmother). They are overjoyed to see her since she’s been away for so long. The whole town plans to welcome her, which she is not looking forward to because she’s brought Jarrod. Jarrod and Rose have been dating for 18 months, unbeknownst to her family. She never told them until now, when she brought him home.

It’s because there is so much unspoken pressure to find a mate and marry. Nan had seven children. Rose’s mother Kathleen found her soulmate in Will when Will was eight. They have been married for 28 years and are totally devoted to each other. They are loving, lusty, giddy and still passionate about each other. Rose is not sure she can have that kind of passion with Jarrod even though he is devoted to her.

Playwright Jody Stevens McCluskey has filled Time & Tide with ‘down home humour’ the wonderful turns of phrase of Newfoundland, the quirkiness and solidness of its characters. The humour comes naturally to characters who are naturally funny.

The acting under Jamie Williams’ direction is committed, solid and sweet. The characters shine.

The Foster Festival Presents:

Plays until Oct. 13, 2024.

Running time: 2 hours approx..

www.fosterfestival.com

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Comment: PAIN, THE MUSICAL

by Lynn on October 9, 2024

Played at Array Music, 155 Walnut Ave. Toronto, Ont. From Oct. 2-5, 2024.

Concept by Bahram Jam

Book by Martin Julien

Music and lyrics by Allen Cole and Bahram Jam

Cast: Rebecca Auerbach

Arlene Duncan

Allister MacDonald

Tracy Michailidis

Brooke Mitchell

Cliff Saunders

Musicians: Allen Cole

Dashiell Cole

Pain The Musical says it all. It’s a musical about the psychological, physical and mental effect of pain on people. The idea came from Bahram Jam, a physiotherapist. He has worked in the field for 30 years. He is totally involved in and passionate about the subject, trying to ease the pain of his patients through his physiotherapy. He is also a musician who co-wrote the music and lyrics with Allen Cole.

He felt music has a healing effect on pain, so why not combine the music with the knowledge of pain to create a musical. Bahram Jam is keenly enthusiastic and committed to educating the public. He gave an impassioned speech full of facts, information, and medical context at the beginning of the show, at intermission and at the end of the show. Now I would like him to incorporate all that information into the show and save the lectures for another time, away from the show.

Allen Cole is one of the most accomplished composer/lyricists in Canada today. Martin Julien is a writer, scholar and teacher of theatre. The three combined to create the show.

The cast was exemplary. I believe the music is on Spotify. Pain (Cliff Saunders) was personified as a song and dance man who told jokes in order to lighten the pain of the patients. Various patients and a doctor had different issues dealing with pain. All interesting and beautifully sung and acted.

The workshop was from Oct. 2-5.

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Correction/Apology regarding: GOBLIN:MACBETH

by Lynn on October 9, 2024

I have been informed by one of the hugely creative goblins (KRAGVA if you must know), that in fact all of the creative people associated with this wonderful show are listed on page 12 of the digital program. It’s there, but hiding. Part of the adventure. I was given a short hard-copy of the program that did not have this information.

I make the correction gladly. Apologies for not investigating deeper into the goblinverse….

Review: GOBLIN:MACBETH

by Lynn on October 9, 2024

Live and in person at the Tarragon Theatre, Toronto, Ont. A Spontaneous Theatre Creation, playing until Nov. 3, 2024.

www.tarragontheatre.com

Created by The Goblins

Directed by a Goblin?

Musician, a Goblin?

Costume design by Philip Edwards

Masks by Composite Effects

Lighting by Anton DeGroot

Stage Manager, Dustyn Wales (he’s heavily involved in other ways in this epic)

Performers: Kragva

Moog

Wug

This is an explanation on the lack of actual programme information on who created, directed and acts in this wonderful, inventive show: the creators want anonymity. (sigh)

From the Programme: “The creators invite you to forego investigating the identities of the performers. The goblins are The Goblins. Allow the play and the text to wash over you in new ways. If you really must know who’s who, please wait until after the performance to search out this information hidden within the pages of the full digital house program. “

OOOOkaaaayyyyyy. Goblin: Macbeth is a combination serious rendering of the play with great swaths of improvisation. The Goblins don’t want the audience to be influenced with who is playing whom. We might get preconceived ideas of how it should/has been done. Anonymity is the word. They wear almost identical masks that cover the whole head; have pointed ears and a long nose; have the same markings on the head. They are only differentiated when they speak. So to take it to a finer point of anonymity, don’t speak at all—mime the damned thing! But I digress.

Look guys, er, I mean, Goblins. It’s theatre, see? Plays and texts wash over the audience in new ways every time they see a play and try as you might, you have no control over how they might perceive, interpret, or understand it. If they see 10 productions of the same play, they will see 10 different productions, 10 different and NEW ways of looking at the play. And if an actor can’t surprise an audience out of their preconceived notions of how a part should be done, then the audience is either comatose or the actor should do something else, perhaps work at Schmaltz’s selling chopped liver.

The program does not list who’s who no matter how hard one looks for the ‘information hidden within the pages of the full digital house program” because it’s not there—those Goblins have really convinced the good folks at Tarragon, that anonymity is the way to go. There is an extensive Director’s note in the program not signed by anyone. I tell ya, it’s frustrating supporting such subterfuge when all one wants to do is give credit where credit is due. And they deserve a lot of credit. Goblin:Macbeth is a grand piece of theatre.

I remember seeing a production last year at the Stratford Festival of a show also called Goblin: Macbeth as part of their Meighen Forum. It too was a combination serious rendering of Shakespeare’s play with great swaths of improvisation. It had three characters in it just like this one does playing all the parts as this one does; with the same mask designs, and while the actors seemed similar (body language, voice), to these good people at Tarragon, I think they were shorter.

I reviewed it last year. It was great fun. Creative, inventive, smart, hilarious, and when they acted the actual text, it was strong assured and could stand up to any classical actor. Truly. The acting here at Tarragon is also strong and assured. And indeed I heard interesting and revelatory interpretations of the text. I just want to be able to give better credit than saying Wug is a powerful, compelling Macbeth and other characters; Kragva is a wonderfully controlled Lady Macbeth and others and Moog plays many characters with wit and all the musical instruments with class. Tapping the microphone as if it’s a percussion instrument is inspired.

I know!!!! I’ll just ‘reprint’ last year’s review with some updated variations….no one will know because it’s all anonymous!

Here goes……

Three Goblins: Kragva, Moog and Wug discover the horror and humanity of humans when they (the Goblins) discover a copy of the “Complete Works of William Shakespeare.” They decide they will also explore the world of theatre by performing the play Macbeth because it’s the shortest they say. (Actually, to be pedantic about it, Macbeth is the shortest of Shakespeare’s tragedies. The shortest play by Shakespeare is The Comedy of Errors. Google says so. It never lies. And I’m grateful to the Goblins for making me curious to look it up.)

I note one of the Goblins is sculking furtively around the lobby, making comments in a light (female?) voice. The Goblin chats up various patrons. This gives the humans in the lobby a chance to become familiar with ‘the look.’ The Goblin wears a mask that tightly covers the head and the face down to the neck. The head is bald with an octagon design etched on that back of the head. The ears are very long and pointed. The nose is very long, broad and pointed. There are black lines on the face and between the brow that give a sense of foreboding or aggravation. The lips are black. There is a little opening for the mouth but for the most part the mask leaves little room for facial expression. The costume is black with black pants and boots. (Kudos to Philip Edwards, who alas has passed away).

The other two Goblins are already in the theatre as the audience files in. They are masked the same way but with subtle differences in the face. The third Goblin joins the other two and they flit around the stage which is full of stuff: a boom box, three moveable large mirrors, rounds of old wood, an umbrella that is opened, and lots of musical instruments and a stand microphone.

One cannot tell the gender of these Goblins unless they speak. Two sound like men, one is gruffer than the other. The third sounds like a woman. While the director’s note (from last year as well) said that the actors did not want to be associated with any character (for anonymity), one can assume the gruff voiced one is Bruce Horak, the not as gruff voice is Ellis Lalonde (and a hint here is that this is the Goblin who plays all the music, including a French café ditty(!), and the voice that sounds like a woman is Rebecca Northan.

(NOTE: there are moments of improvisation that are the same as last year, but of course with subtle, refined differences and just as funny).

A woman in the front row does something to lead the Goblins to declare that she is a witch and they bow down. They say her feet should be elevated and put a low box down so her feet can rest on it. They also race out to get her another glass of Vino. The improvisation is smooth, imaginative, quick-witted and nimble.

When the show starts, we are told by the Goblins that they find the human’s pre-occupation with gender, amusing. The Goblins say there are in fact 17 genders. That sounds good to me. They say that they have discovered a lot about humans when they discovered “The Collected Works of William Shakespeare,” and certainly Macbeth.

The Goblins begin the story by telling the audience that Scotland is at war with Norway. Macbeth is one of the leading soldiers. Then the three Goblins get ‘into it’ by playing various parts to tell the story.

The action is swift. Witches prophesy the future of Macbeth and Banquo, his companion in arms. When one of the prophecies comes true Macbeth gets antsy for more power; brave and murderous. His wife joins him. Props are used with imagination—those mirrors are twirled for great effect. Music is played for example on accordion and a kazoo—at the same time!! The three Goblins riff off one another—are they improvising? Is it scripted? It’s all accomplished, brilliant and mischievous. They chide each other—one is out there playing three parts, it’s exhausting.

Macbeth is acted with a gruff, strong voice, vigor, conviction and power. Lady Macbeth has a softer voice, has the ability to manipulate and control and does a good job with Macbeth when it comes to the murders of her ‘house guests.’

Matters ramp up when the battle lines are drawn. Macbeth is over there in Dunsinane with his forces and the two Goblins representing the opposing forces are center stage, needing an army. Where will they get an army? They do a slow pan to the audience (this is not a spoiler alert. Where else are you going to get an army on short notice in a small theatre). The audience will be engaged in the action.

Besides open-heart surgery or a trip to the dentist, nothing strikes terror in the hearts of an audience more than these two words: “audience participation.” Goblin:Macbeth has audience participation. Lots of it. DO NOT RUN AWAY!!! You are in good hands here.

Rebecca Northan and Bruce Horak are master improvisors. They know how to engage an audience with consideration, care and respect. They have perfected the ability to look at an audience and sensitively know who is eager to participate (the hopeful eyes, the eager looks, the smile that says, “PICK ME!!!!”) and who does not want you anywhere near them in their ‘safe space’ in the audience (eyes averted, head down, telegraphing the thought: “Come near me under peril of your privates!”) These Goblins will not make you feel uncomfortable or awkward. These Goblins will make you eager to participate if you want to. That is one of their many gifts.

The Goblins teach us a lesson about humanity and the power of theatre in their witty, irreverent, and committed presentation of this glorious production. They end by noting we in this theatre are a unified community all joined by the power of theatre to use our imagination to conjure all sorts of worlds. I found that observation so moving it took my breath away and I just wanted to say: “BRAVO!!! to Rebecca Northan, Bruce Horak and Ellis Lalonde for such an imaginative, perceptive, laugh-out-loud production of this gripping play, that also gripped us in the best way. Unfortunately I can’t say that, because of the anonymity thing.

Goblin:Macbeth –see it!!!!!

Tarragon Theatre presents A Spontaneous Theatre Creation:

Plays until Nov. 3, 2024.

Running time: about 90 minutes (no intermission)

www.tarragontheatre.com

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Review: WONDERFUL JOE

by Lynn on October 8, 2024

Live and in person at the St. Lawrence Centre for the Arts, Jane Mallett Theatre, Toronto, Ont. Presented by TO Live. Playing until Oct. 23, 2024

www.tolive.com

Created and performed by Ronnie Burkett

Music and lyrics by John Alcorn

Lighting by Kevin Humphrey

Marionette and costume design by Ronnie Burkett

Costumes by Kim Crossley

Using hand puppets and marionettes creator/performer Ronnie Burkett focuses his perception, wit and anger on a world gone mad. He touches on gender issues, pronouns, friendship, loyalty, optimism, climate change and love, generally through the eyes of Joe—who is wonderful. As is the show.

The show focuses on Joe, an elderly gay man who lives in a fifth-floor walk-up. He is told by his kindly landlord that the site is being re-developed, gentrified and Joe and the others in his building are being evicted. They have a month to vacate the premises. While the others lament and fret over the terrible situation of loosing their home, Joe looks on this positively. He and his beloved dog Mister will go into the world on one last adventure.

It’s obvious instantly that Joe is special. He knows his neighbours by name and they know him. He knows their stories and histories and they try to protect each other. Joe is kind, compassionate, optimistic in spite of a hard life, and open-hearted.

Ronnie Burkett tells each story through puppetry, and in the case of Wonderful Joe he starts with hand puppets and then segues into using marionettes. The puppets are always a marvel of creativity, wit, impish-devilishness, and vivid imagination. The cast of characters is rich in various personalities, attitudes, diversity and surprises. We meet such characters as Sketch (who is a comedian), Yitz (the butcher), Jesus (needs no introduction), Mother Nature (ditto) and Hirshey to name a few. Each has a story and a wisdom attached. Each story will unbalance ones assumptions, perceptions, attitudes, prejudices and biases, leaving one startled and if lucky, changed.

Spoiler-alert, I will use Hirshey as one example of the wonder of Ronnie Burkett’s creative ability and heart because Hirshey is important as are they all. Hirshey is a tall, lanky, character with short blond hair (at least from my seat it looked blond), sinewy, muscular, deep voice. Hirshey is introduced but then Hirshey clarifies the name and says: “It’s Her-She.” Pause. Exhale. Her-She says that the one question they always get is “What are you?” Her-She would prefer that the question be “How are you?” As it’s explained, Her-She is a neighbour, a part of a community, and one can add a part of society, a friend, a parent’s child.

Ronnie Burkett even references Kintsugi, which means “join with gold” in Japanese. Burkett is referencing the ancient Japanese art of repairing broken objects (usually pottery) using gold lacquer to stick the pieces together, making the mending obvious and beautiful.

Ronnie Burkett is concerned about the sad, angry, beautiful world we live in. Nothing escapes his perceptive ire, but he handles it all with compassion and an open heart. That is especially true towards these characters who populate his play. Each of these characters is broken in some way or another but they are fixed/healed/put back together with the gold that is Wonderful Joe.

Ronnie Burkett is a treasure. Wonderful Joe is a gift.

TO Live Presents:

Plays until Oct. 23, 224.

Running time: 1 hour 45 minutes (no intermission)

www.tolive.com

Heads Up for What’s Coming Up

by Lynn on October 8, 2024

Giselle Beiguelman: Botannica Tirannica

Playing until October 20, 2024

At the Koffler Arts
180 Shaw St., # 104-105
Toronto, ON
M6J 2W5

This exhibition was inspired after Brazilian artist Giselle Beiguelman received a gift of a Tradescantia zebrina seedling, commonly called Wandering Jew after the 13th-century myth used recurrently in Nazi propaganda. This led her to investigate the complex, interwoven histories of botany, taxonomy and colonialism that often result in discrimination against specific groups of people.

Modern colonialism began over 500 years ago. As European explorers sailed further, they encountered the so-called “New World” – what they considered to be “terra nullius” (“nobody’s land”). After planting flags in the name of their monarchs, a number of colonial explorers sought to dominate everyone and everything they found including nature by imposing their classification system on flora and fauna. In the binomial system of nomenclature, developed by Linneaus (Carl von Linne, 1707-1778), each species is assigned two latinized names, a genus and a specific epithet (i.e., Tradescantia zebrina), and a common name (i.e., Wandering Jew). A surprising number of plant species previously named by Indigenous inhabitants of colonised lands, were assigned new names by colonisers that include prejudiced terms against ethnic and social groups, including Indigenous people, Black people, Jews, Roma, Sinti and Caló (so-called “Gypsies”), 2SLGBTQIA+, women, and the elderly. This amplified the violence already perpetrated by colonial empires against a wide range of oppressed people.

Wonderful Joe

Playing until Oct. 23, 2024.

At the St. Lawrence Centre for the Arts, Jane Mallett Theatre

www.tolive.com

Goblin Macbeth

Playing until Oct. 27, 2024.

Tarragon Theatre

Created by Rebecca Northan & Bruce Horak with music by Ellis Lalonde

Three Goblins, in compelling masks, find the complete works of Shakespeare, and decide to put on a production of Macbeth. Part improv, part straight forward performance of the play. Totally delightful and brilliant.

www.tarragontheatre

Acis and Galatea

Oct. 24-27, 2024.

Elgin Theatre

Opera Atelier’s 2024/25 season opener – a fully-staged production of Handel’s beloved opera, Acis and Galatea.

This pastorale was considered Handel’s most popular opera during his lifetime, and is considered today the perfect introduction to opera for new and young audiences, as it is sung in English and features beautiful music for singing and dancing.

Acis and Galatea tells the story of the water nymph Galatea, and her love for the Arcadian shepherd, Acis. It is inspired by the Greek myth, as recounted in Ovid’s Metamorphoses.

Marshall Pynkoski directs and Jeannette Lajeunesse Zingg choreographs the opera.

www.OperaAtelier.com