Lynn

Live and in person at the Al Green Theatre, Part of the Toronto Fringe Festival until July 13, 2024

www.fringetoronto.com

An adaptation of Toba Tek Singh by Saadat Hasan Manto

Co-directed by Deval Soni and Ethan Persyko

Light and projections by Abbey Kruse

Props and costumes by Puja Karira

Sound by Kabir Agarwal, Abhishek Sharma and Prakhar Sachdev

Cast: Sarabjeet Arora

Harsh Prajapati

Rahul Chawla

Shivam Sapra

Manik Arora

Parth Soni

Chhavi Disawar

Lakshita Khatter

Taranjot Bumrah

Surinder Arora

Divyanshu Mani Hans

Moving, vital, full of emotion and integrity.

I was invited to review Toba Tek Singh produced by Dramatic Jukebox for the Toronto Fringe. I was told it was about the partition of India and Pakistan in 1947. I thought that was so brave of any company to try and dramatize that story and definitely wanted to see it.  I went on July 4^th, the opening day.

It was set in an insane asylum with many and various characters in it. When they talked either to themselves or others, they spoke in a language I didn’t understand. I prevailed. There were surtitles projected on the curtain at the back of the stage that I think offered commentary (I saw the date 1947), but I couldn’t read anything because either the font was too small and the projections were fuzzy or the font was larger but still fuzzy. Also, the projection was up for about six seconds when it would have been better to project them for 15-20 seconds. This went on for about 48 minutes of the 60 minutes of the show. Then each actor (there are 11 of them) came forward and gave a monologue in English about the immigrant experience, feeling lost and without a home, trying to find a home in which to belong.

I wrote to the person who invited me saying I was sorry I couldn’t review the show because I didn’t understand the language for most of it and could not read the surtitles. I still thought it was a worthy subject.

The woman wrote back to apologize. It was the first time the company had used surtitles. The company listened to the comments including mine and worked hard to fix the surtitles problem. They now used a larger font that was in sharper focus. They also added more surtitles for more context. The woman explained that they performed the show mainly in Hindi and Punjabi because they could not attain the same emotion in English. Fair enough. I bought a ticket to see the show again. The difference in performances was astonishing.

When I saw the show again: A clear projection indicated 15^th August, 1947 in a bold, large font followed by: “The British bid farewell to India after their 200-year-rule. India is split into two separate entities, India and Pakistan. All Hindus and Sikhs had to go to India and the Muslims to Pakistan…”

Characters wandered on stage, looking dazed and confused, carrying their worldly possessions in a cardboard box or a suitcase if they were lucky. A woman in a sari entered, afraid of any man who came near her. Another person cleared and cleaned the floor as his portion of space. These were also in a way the people of the asylum.  Even those people were to be separated. Some people were sent hundreds of miles away from their homes to a new home where they did not speak the language.

A man with a large stick seemed to be one of the guards of the asylum. He wore a white robe on which were large words in red paint?/blood? At the bottom of his robe was the word “Help” in red. That was dramatic. Sometimes criminals were put in the asylum along with those who were mentally ill. It was not a safe space.

The  main languages were still Hindi and Punjabi, but there were more surtitles with much more context that illuminated the confusion these people felt at being wrenched from their homes to live in a strange place; if they lived in Lahore they wondered where that now was? “Hindustan or Pakistan?” One man didn’t know where he was so he decided to live in a tree—at the top of a ladder with an ornate rope configuration at the top. One was never in doubt of the emotional cost of this division because the acting was so vivid.

In the end Sarabjeet Arora, who played an man who was considered crazy but often spoke wisdom about the situation, came forward and spoke in English. He spoke of his parents who were very young when they experienced partition. He talked of feeling lost, displace and without a sense of home. Hs speech was heart-felt, eloquent and moving.

Toba Tek Singh is a stunning piece of theatre about a terrible time in history and how it affected so many people with just a line drawn through a country, displacing hundreds of thousands. I so appreciated the company’s efforts to make this story clear for their audiences by improving the fonts, sharpness of focus and the increase in the commentary. I also respected their need to be true to their story and convictions by telling it mainly in Hindi and Punjabi. It was very clear. Bravo. I’m glad I saw it again.

Dramatic Jukebox presents for the Toronto Fringe.

Runs until July 13, 2024

Running time 60 minutes.

www.fringetoronto.com

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Played at Theatre Aquarius, Hamilton, Ont.  June 21-23, 2024. Produced by Walter Schroeder and Terra Bruce Productions.

Book by Steve Cochrane

Based on an original concept by Walter Schroeder

Directed by Courtney Brown

Choreographed by Victoria Wells-Smith

Music direction arrangements, orchestrations and additional music by Bill Brennan

Set by Brian Dudkiewicz

Costumes by Sara Hodder

Lighting by Leigh Ann Vardy

Projections by Amelia Scott

Sound by Kate De Lorme

This show was so dire it does not deserve a review, but the producers want one, so here it is.

From the program note from the producer: Bob Hallett. “During those long and confusing months of the pandemic, prevented from playing and performing, we resolved to use our time wisely, by devoting the time instead to creation.

It was in those dreary weeks (note: officially the COVID-19 pandemic lasted from March 20, 2020-to Jan, 2023) that our founder Walter Schroeder conceived of a show build around the classic hymns of the 50s and 60s the golden age of music…

We conceived of a story build around an Irish priest (Father Paul Barry), a flawed but good man, wo came to the new world to escape his past, only to find both love and a crisis of conscience.

Playwright Steve Cochrane embraced the challenge, and over many drafts, and rewrites and workshops the show slowly became something more, the story of a young couple drawn together by love but pulled apart by the turmoil of the times. New musicals are complex and complicated creations, and this one spans countries and decades, following our lovers as their lives reflect the world changing around them…”

A further program note from Courtney Brown, the director: “In 2021 I was asked to direct a new show for Terra Bruce Productions. The show was still to be written, but the desire was that it contain a priest, a rock star, a love interest and that it was set in America. Oh! And that it must contain a list of songs, hymnals to gospel to rock and roll written between 1955 and 1984. Steve (Cochrane the playwright) took those puzzle pieces and over the past few years has woven them into this beautiful story you are here to see, the world premiere of An American Hymnal.

Somewhere early in my conversations with Steve we started circling around the notion of forgiveness—and how the world seems to have turned its back on the idea lately. What does it mean to forgive someone? How do you truly forgive yourself? When Beau (Dixon, listed as the dramaturge) came aboard this year another question began to emerge, how is forgiveness related to love?

So many folks along the way have brought forward the idea of second chances. When they happen, and they are a rare gift, how do you open your heart and embrace them? ….

I hope this production inspires you to examine those in your life who may need some forgiveness. I hope it helps you identify those rare second chances, should they come your way and that you have the courage to be open to them.”

Where to begin? With all the constant additions, changes, and other ideas surrounding An American Hymnal it’s obvious no one actually knew what they were doing in ‘creating’ this show. Is it about an Irish priest? A love story? Forgiveness? Second chances? All of these? You would hardly know from Steve Cochrane’s confusing, vague, badly written, deeply flawed book of the musical. Characters are rarely developed or relationships established. Information plops down into the plotline without support or reason. And why create yet another jukebox musical (a musical with the music that already exists elsewhere—think Mamma Mia!) based on classic hymns when they do so little for the plot, atmosphere, idea?  Did anyone tell anyone that these hymns are not mainly Catholic. Many are African-American spirituals.

Connor Lucas plays Father Paul Barry around whom this show is based. Connor Lucas has a strong voice but speaks in a monotoned mumble. But who really is Father Paul Barry?  He drinks a lot. Why? We have to guess. He was raised by the priests in his local parish church in Ireland but then sailed to New York and then moved to Chicago. We barely know why. His mother is a haunting presence and we find out late in the show, why. He looks wistfully at a young woman, Diana Sprewell (a power-house Ruth Acheampong), a terrific singer and we are supposed to assume a relationship because again, Steve Cochrane does not do the work to clearly, firmly establish that. Diana is a sweet woman until she is abused by a man and that turns her bitter instantly. She marries Floyd Landry (a fine performance by Matthew G. Brown), also initially a sweet man who on Diana’s urging without reason or subtext then says, “Burn this country down.” Really? None of this is supported? It’s basic playwrighting and that seems to be a mystery to Steve Cochrane.

Director Courtney Brown’s program note also betrays an ignorance of musicals, musical history etc. Second chances are rare? Really? Are you kidding? Second chances are the keynote of musicals: Gypsy, Sweeney Todd, A Little Night Music, Carousel, My Fair Lady, Come from Away, South Pacific, The Sound of Music, Mamma Mia!, Priscilla Queen of the Desert. And on and on.

And Courtney Brown’s direction is no better. Underwhelming and unimaginative. She seems more concerned with having a dazzling backdrop (kudos to Amelia Scott for her projections) than showing an ability to establish a scene or relationships.

When one looks in the program for any hint that Steve Cochrane and Courtney Brown know anything about playwrighting/musicals (in Cochrane’s case) or directing musicals in Brown’s case, one finds precious little information by way of bone fide credits in these artforms. That should be a clue we are in trouble.

This country is loaded with artists who know the musical theatre form down to their toes. They know how to compose them, write them and direct them.  To continue to go unerringly to hire people who have no clue about the artform says everything about Terra Bruce Productions. And how telling that producer Walter Schroeder is listed last in the program in bold letters as “base on an original concept by Walter Schroeder.” An American Hymnal. The show is neither original not an original concept. It’s a juke-box musical, and a bad one at that.

The last three musicals that Terra Bruce Productions has brought to the Toronto area have been dire (Let’s Dance—The Musical; The Wild Rovers; An American Hymnal).  And that is unforgivable. Perhaps the company should change its name to Terra Bull Productions.

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Live and in person at the Lighthouse Festival, Port Dover, Ont. Playing until July 20, 2024.

www.lighthousetheatre.com

Written by Stephen Massicotte

Directed by Derek Ritschel

Set by William Chesney

Costumes by Alex Amini

Lighting by Wendy Lundgren

Sound by Tim Lindsay

Cast: Daniel Reale

Evelyn Wiebe

Intensely emotional. A bitter-sweet, gentle play about love and war.

The Story. It’s 1920, the day before Mary’s wedding. She dreams of a time a few years before, of a thunderstorm and the first time she met and probably fell in love with Charlie, a young man about her age. Because of the thunderstorm, Mary found shelter in a barn. There she saw Charlie and his horse. Charlie was cowering in fear of the thunder. He still found the ability to calm his also terrified horse. Mary calms Charlie as well after they introduce themselves. She has recently arrived from England with her parents. Charlie is a local farm boy in the prairies. When the storm passes Charlie returns to his usual self. He offers Mary a ride home on his horse. Her mother is not happy about Mary meeting what she describes ‘as a dirty farm boy.’ A friendship forms between the two young people and that slowly grows into love.

World War I is raging in Europe. When Canada joins the war effort Charlie feels it’s his duty to sign up. Mary is upset by this. They have a fight and Charlie goes off to war without Mary saying goodbye to him, but Charlie writes her the most personal letters. Their love grows deeper and it leads up to the day before Mary’s wedding.

The Production and comment.  William Chesney has designed a multi-leveled set with planks here and there that could be a barn or the trenches etc.  Alex Amini has designed the costumes that are simple and effective. Charlie (Daniel Reale) wears a shirt, suspenders and army pants and boots. Mary (Evelyn Wiebe) is dressed in what could be a white nightgown or a long dress.  Tim Lindsay’s soundscape captures the nearing thunder storm, and its receding. It could be the bombs of the war as well.  So that melding of the technical aspects of the production beautifully establishes the world of

Stephen Massicotte has written an ache of a play about an enduring love, compassion, friendship, doing one’s duty and the horrors of war. It’s about how differences don’t matter when the similarities are so aligned, as Mary’s and Charlie’s are. Her mother is a snob when she refers to Charlie as ‘that dirty farm boy.’ Mary ignores it. She is so eager to see him again as he is eager to see her again after that first meeting.

As Mary, Evelyn Wiebe is forthright, confident and sweet. She has a consistent English accent that is endearing. She is compassionate about Charlie’s fear of thunder and charmed by him. As Charlie Daniel Reale is initially our narrator. He tells us the year and what will happen the next day. But first he tells us it’s the day before Mary’s wedding and she is dreaming of everything that leads up to this moment.

When Charlie is properly introduced to us Daniel Reale as Charlie is as shy as Mary is confident—one imagines her snob mother might have tried to instill that attitude in her young daughter, but Mary is also compassionate and understanding. Charlie has the confidence of place. He was born on the prairies and is confident with horses. He can show Mary his confidence and compassion in his own way. The awkwardness they both initially have with each other grows into easy love, affection and trust. Charlie is willing to go into strange territory for Mary, having tea at her house for example; dancing as well. Daniel Reale is almost awkward around Mary, he likes her so much but is unsure it will be returned. But he shines in the scenes in the war. He is terrified, thrilled, excited and compelling. Evelyn Wiebe also has many emotional moments which are heart-squeezing.

Director Derek Ritschel has realized the beating heart of the piece, the awkwardness and intensity of first love. This is also one of the most emotional rendering of the play that I’ve seen. Very moving. Bring Kleenex.

Lighthouse Festival presents:

Plays until July 20, 2024.

Running time: 2 hours (1 intermission)

www.lighthousetheatre.com

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Live and in person at the Foster Festival, The Mandeville Theatre, Ridley College, St. Catharines, On. Plays until July 14, 2024.

www.fosterfestival.com

Written by Norm Foster

Directed by Lisa Horner

Set by Beckie Morris

Costumes by Alex Amini

Lighting by Alex Sykes

Cast: Jamie Cavanagh

Dana Fradkin

Heather McGuigan

Tyler Lionel Parr

Those Movies is a sly play in which people you think are bright are not, and those that we are told are lacking, are sharp and intelligent. And of course being a Norm Foster play, it’s very funny and wise.

Those Movies begins with Harry (Tyler Lionel Parr) watching a movie at home, and being totally moved by it. We only hear the wonderful scene between Julia Roberts and Hugh Grant in which he says she lives in Beverley Hills and he lives in Notting Hill. (suggesting the distance would be difficult for a relationship and of course that she’s world famous and he’s known on his block). She says that she’s just a girl standing in front of a boy asking him to love her. Ahhhhh ya gotta love Notting Hill (the film). Harry thinks life should be like the movies. He wishes it were.

Harry is a parking lot attendant—sorry, as he says, he’s a Barrier Gate Operator. That definitely sounds more elevated. Harry has a crush on Millie (Heather McGuigan) who is the Barrier Gate Operator at the opposite end of the parking lot. He’s invited her on a date and to his surprise She’s accepted. Millie is coming to Harry’s place first for a drink and snacks. And she’s bringing her visiting cousin Chelsea (Dana Fradkin). Staying with Harry is his friend Patrick (Jamie Cavanagh), whose house is being fumigated. Patrick is unemployed, sarcastic and a bit of a slob. Naturally Harry thinks that Patrick and Chelsea would hit it off so Patrick is expected to go on the date too.

Patrick has this whole scenario, thinking about movies etc, of how he and Chelsea will hit it off but she lives out of town etc. In fact Chelsea is separated from her husband who cheated on her with another woman. It’s painful.

Patrick and Chelsea hit it off but Patrick is not quick enough to tell Chelsea. We learn from Millie, Chelsea’s cousin, that Chelsea is accident prone—she lost a heel in the grate an was hobbled; she drops drinks and food on her clothes; she is the brunt of Millie’s jokes and Chelsea takes it. Millie and Harry hit it off well too. Millie says to Chelsea that she, Millie, hides how smart she is from Harry. Millie was studying to be a psychotherapist. She would have been awful. She’s cruel to her cousin, condescending to Harry but loves to boss him and is clueless about therapy. Harry is besotted by Millie and ignores or is not aware how condescending she is to him.

Harry believes life should be like the movies and can’t understand why Patrick doesn’t.  That’s because Patrick is thoughtful, respectful of those who respect him, self-aware when he erroneously listened to both Harry and Millie about Chelsea and finally sees the light.

Norm Foster shines his comedic light on these four characters and their relationships with each other. He slowly reveals who the decent characters are in the play and how they would make a great couple. He shows how the other two make a couple in which one must run roughshod over the other. Norm Foster finds the humour in the human condition once again.

The acting is fine. Tyler Lionel Parr plays Harry as a fastidious, nervous enthusiastic man. Heather McGuigan as Millie smiles at everybody and subtly drops her condescension and put downs every where she goes. As Patrick, Jamie Cavanagh is laidback, funny and formidable when speaking the truth to Harry and Millie. And he’s sweet to Chelsea when he finally tells her how he feels. Dana Fradkin as Chelsea knows that she is the brunt of the family jokes and takes it. She knows her cousin is mean. And she knows that Patrick is a decent soul.

Those Movies is directed with style and a keen sense of humour by Lisa Horner, who is no stranger to comedy herself, being a wonderful comedic actress in her own right. The play is one of the three plays that make up this year’s Foster Festival. It will be followed by Whit’s End (July 25-Aug4) and The Melville Boys (Aug. 15-25). Worth a visit.

The Foster Festival Presents:

Plays until July 14, 2024

Running time: 2 hours (1 intermission)

www.fosterfestival.com

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Live and in person at Memorial Hall, Blyth Festival, Blyth, Ont. Playing until August 4, 2024.

www.blythfestival.com

Written by Mark Crawford

Directed by Miles Potter

Set by Steve Lucas

Costumes by Amanda Wong

Lighting by Nic Vincent

Sound by Lyon Smith

Cast: Janet-Laine Green

Jim Mezon

Prickly, tender and open-hearted.

If Mark Crawford wasn’t such a gifted playwright, he could be a successful cardiologist because his plays and characters are so full of heart, pulsing life, and the delicate balance between good health and disaster.

It’s Glen (Jim Mezon) and Sandy’s (Janet-Laine Green) 50^th wedding anniversary. Glen is at their cottage preparing a celebration for them. A tiny wrinkle: Sandy threw Glen out of their house in Toronto a few days before, because after 50 years of contending with Glen, she’s had it. To get her to show up at the cottage, he sent her a text that made it sound as if he was in terrible trouble, ill-health or something equally as drastic. When she arrives and sees that he is healthy and even gleeful she is furious. But she showed up as quickly as she could, so there is ‘something’ there in that relationship. He waits for her to arrive the ‘back way’ as usual, but she arrives another way and catches him unawares.

They bicker, wrangle and dredge up old slights. In all that back and forth, it’s not quite clear why she’s ‘had it with Glen.’ This is not the fault of the playwriting. This might be a clue to something else. Have patience.

 As Sandy, Janet-Laine Green is one feisty presence. She is unwavering in her frustration and anger with Glen. She stands her ground and will not be charmed by Glen’s disarming manner—as Glen, Jim Mezon is totally disarming. Mezon illuminates Glen’s buoyant attitude that she’s there, and determined to cheer her out of her anger. This is a nuanced performance of cheerfulness that never puts down Sandy’s anger. Glen knows he’s done something wrong and he wants to make amends in a way. He tells her of the muddy mess near the drain pipe but she is so angry at him she might have forgotten and storms out towards the mess.

After a change of clothes…….

Glen and Sandy remember—not sure reminisce is the correct word here—their various other anniversaries, starting with the first one when they arrived at this very cottage (a rental at the time)  and there was no reservation in Glen’s name. (They have since bought the cottage). Error upon error happens with great humour. Glen was anxious to ‘begin’ the honeymoon. Sandy was anxious to pee. There were other memories of other anniversaries. There was truth telling —“did you ever cheat during our marriage?” There were neighbours who were attractive with opportunity. Secrets were told and kept. Glen should see someone to check a physical issue but he doesn’t want to. Perhaps so should Sandy.

Mark Crawford has written a funny, subtle, prickly comedy about a marriage that has lasted 50 ‘golden’ years (there is a lovely play on words in the title). There have been ups and downs along the way, but in the long run Glen and Sandy have stayed together out of love and respect, in anger and in concern, in difficulty and in good times. When Glen is being stubborn about something he should attend to, there is Sandy, urging him to get the matter sorted. When Sandy thinks she might be losing ‘herself’, there is Glen saying he will be there for her. All the nuance and subtext are revealed as delicately and carefully as open-heart-surgery and with as much assurance as clasped hands.

Adding his sure and gentle hand to the production is director Miles Potter. The relationships are beautifully established, not over pushed. The performances are also wonderfully nuanced certainly because of the gifted cast, but also because of Potter’s watchfulness.

The Golden Anniversaries is a fine play with a beating heart bursting with life and love. It’s well worth a trip to Blyth.

The Blyth Festival Presents:

Plays until Aug. 4, 2024

Running time: 2 hours (including 1 intermission)

www.blythfestival.com

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Live and in person at various locations of the Toronto Fringe Festival, Toronto, Ont. On until July 14, 2024.

www.fringetoronto.com

Pretty Beast

Written and performed by Kazu Kusano

Directed by Jane Morris

Growing up in Japan, Kazu Kusano had a lot going against her. She had a schizophrenic mother who hated to be touched, which meant Kazu was not held or hugged, ever, by her mother. Kazu Kusano had an alcoholic father. She lived in a sexist society. And she wanted to be a stand-up comedienne. So Kazu moved to the United States; learned English and began telling jokes in clubs in Los Angeles.

She does not shy away from facing cultural cliches about being a Japanese woman. At an audition she was asked “to be more Japanese, like a Geisha”, and laugh demurely with her hand in front of her mouth. Kazu sent that up with some colourful language and blunt imagery. She talks about being looked after by a plain-speaking grandmother, who put her to bed with an inappropriate bedtime story and usually some blunt advice.

Kazu Kusano is irreverent, self-deprecating and very funny in her perceptions of the world.  

Plays at Theatre Passe Muraille Backspace:

July 7, 9, 10, 11, 12. 13.

Check times at www.fringetoronto.com

Dead Right

Written by Kate Barris and David Schatzky

Directed by Briane Nasimok

Set by Beckie Morris

Cast: Chris Gibbs

Janelle Hutchison

Allan Price

Kristi Woods

Helena has cancer. She tells her daughter Suzanna, which puts her in a tizzy because she just quit her job to write a play, full time. Suzanna’s psychotherapist husband, Michael wants to be supportive, but always thinks of himself and his practice first. Added to this, Helena and her husband Bud decide on a suicide pact, but then Bud might be changing his mind, or not.

The premise is full of funny possibilities. The cast is hardworking, with Janelle Hutchison as Helena realizing a lot of the humour. Perhaps the writers could give the play another look and trim 15 minutes by tighten up the scenes, after seeing what jokes are working and what isn’t.

It’s a brave and irreverent look at illness and suicide.

Plays at the Alumnae Theatre

July 7, 8, 12, 13, 14

Check times at: www.fringetoronto.com

Elephant Song

Written and directed by Kush

Set by Crescent Choudhary, Ezequiel Garcia

Lighting by Eden Philips

Cast: Arjun Kalra

Chirag Motwani

Japneet Kaur

Musicians: Utsav Alok, Dhruv Sodha

“B leads a barren life working as a government clerk in Mumbai. In his quarters, one lonesome night, he sees a white elephant that takes him on a journey in which he begins to question the biases, beliefs and ignorance of the world around him. Sounds of traditional Indian instruments (the sitar) song, and the inspiration of poems of Kabir, permeate the atmosphere.”

Kush’s writing is lush, poetic, esoteric and even mystical. Arjun Kalra’s performance as B is haunted, thoughtful and always compelling.

The script mixes the English dialogue with dialogue in Hindi. The translation of what is being said or sung in Hindi is clearly projected on the back wall of the Backspace so that those not knowledgeable about the language are never left in the dark. Every part of this production was created with care and thought.

Plays at Theatre Passe Muraille Backspace

July 8, 9, 10, 11, 13.

Check times at: www.fringetoronto.com

Daniel in Love (For One Night Only)

Written and performed by Daniel Tompkins

Directed by Ryan Bjornson

It takes guts to publicly reveal your faults, errors and demons, and Daniel Tompkins has the guts of a bandit. His show begins with a fanfare of the buoyant overture of Sweet Charity. In keeping with that dazzle Daniel Tompkins enters the space wearing a sparkly jacket, and exuding a lively attitude ready to do his standup comedy routine. It turns out to be rather lackluster in jokes that seem tired or forced. Daniel Tompkins finally comes clean. He says that that persona is a mask, a shield he puts on to please people—to present himself as he thinks they see him, rude, smarmy, and irreverent. He then takes off the jacket and hangs it up and presents himself to us as he is.

It’s easy to see why humour is so important to him. His mother was a teenager when she became pregnant by her boyfriend. He abandoned her. Her parents sent her to Ireland at three months to hide their embarrassment. She returned when she gave birth. The Grandfather shunned him as well until a kind uncle shamed the Grandfather by noting Daniel was a beautiful baby. That changed his mind.

Daniel Tompkins takes us on a journey of his own discovery. He says he’s a gay man who likes to date women. One of those women could see him as he really was, saw his good points and the disappointments. He felt that theatre and performing was what he wanted to do, and how he had to contend with the cruel and supportive comments from teachers. He carried on, but drank a lot to mask the disappointment. When he was at an important event that could have shown him in a good light, he drank so much he ruined every possibility. He finally saw the light and stopped drinking then. His journey since has been full of revelation and poetry that gets him through.

Daniel in Love (For One Night Only)—the title become clear—is a moving journey of a man who has been through uncertainty, depression, insecurity, alcohol and finally love, in order to find his true self. It takes guts to tell this story and Daniel Tompkins is bringing with it.

Playing at Theatre Passe Muraille Backspace

Playing: July 6, 8, 9, 10, 12, 14.

For playing times: www.fringetoronto.com

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The review has been revised to correctly reflect that Act II of the play takes place in Thedford and not Thorold (as per the program). Thanks to Bonnie Sitter who co-wrote the book for the confirmation of the correction.

Live and in person at 4^th Line Theatre, Millbrook, Ont. Playing until July 20, 2024.

www.4thlinetheatre.on.ca

Written by Alison Lawrence

Based on the book by Shirleyan English and Bonnie Sitter

Directed by Autumn Smith

Musical director & original compositions, Justin Hiscox

Costumes by Korin Cormier

Sound by Steáfán Hannigan

Cast: Rebecca Birrell

Aimée Gordon

Reena Goze

Megan Murphy

Carina Sălăjan

Alicia Salvador

Musicians: Justin Hiscox, Mark Hiscox, Cindy Babcock, Maria Con

A touching homage to the young women who worked the farms in Ontario while the men were in Europe fighting WWII. The play does not shy away from examining Canada’s more disgraceful treatment of some of its citizens.

Alison Lawrence has written a lively, loving, poignant play weaving the stories and experiences of the young women who signed up to be Farmerettes, working the farms while the men were away at the war. The young women were mainly high school students who often came from other places to work on the farms.

Alison Lawrence has created a play in two parts over two summers. Act One, Peach Fuzz, is set in 1942 in Grimsby, Ontario; Act Two, Onion Skins, is set in Thedford, in 1945. The play is described as a work of fiction based on actual events. We get a wonderful sense of the enthusiasm of these young women for this new adventure. The Farmerettes, as they were soon called, soon got over their enthusiasm for the adventure after a day of working in the fields. Every bone and muscle ached.  There are hilarious stories of picking peaches and later in Act II, harvesting onions.

For many of the Farmerettes it was the first time they were away from home and homesickness was an issue in at least one case. In another case it was the first time a young woman had a bed to herself because she came from a large family and had to share her bed with two sisters. One young woman named Jay wrote chatty letters to her father who was fighting overseas. This perhaps was the most moving story. Jay (Rebecca Birrell) and her father argued before he left and she felt sad and guilty about it. The emotion was heighted because he was fighting in Dieppe.

The camaraderie of these young women is beautifully illuminated by playwright Alison Lawrence but she doesn’t shy away from some of the uglier attitudes of some of these women. One of the Farmerettes was a woman named Amalia (Carina Sălăjan). She was matter-of-act and generally kept to herself. She was viewed with a bit of suspicion by the other girls perhaps because she kept to herself; or perhaps because she had an accent they could not place. In fact, Amalia was Czech and had experienced war, while the others had not. She came to Canada for a better life. Over time the wariness she had for the others and the others had for her, dissolved with conversation and understanding.

In Act II, set in Thedford, Ont. in 1945, Alison Lawrence had the stories of two sisters, Sue (Reena Goza) and Lucy Tanaka (Alicia Salvador), woven into the play. They were young women living in the area with their parents. Sue and Lucy were born in Canada of Japanese descent. Because of the war and racism, their parents saw their land taken away from them and they were put into an internment camp and considered “enemy aliens.” It didn’t matter that their father fought on the side of Canada in the war. It didn’t matter that the two girls were born in Canada. Because they were of Japanese descent they were automatically consider ‘enemies’. Sue tried to see the best in people. Lucy was bitter because of the treatment of her family. Again, the young women farmers came to realize the horrible situation for the Tanaka family. One of the girls stood up to her mother who had negative thoughts about the Tanaka family, and told her the Tanakas were good people. It was vital that that ugly part of Canadian history be in this play and Alison Lawrence rose to the occasion.

The production is terrific. Director Autumn Smith guides her young cast with assurance and care. Smith uses every inch of the barnyard of Winslow Farm as well as the outer reaches of a meadow. In all instances the cast projects with gusto and conviction. They are stellar. Rebecca Birrell as Jay is an upbeat presence hiding regret that she and her soldier-father parted on prickly terms. She writes to him regularly telling him of her day and adventures, always hoping he’s ok. Aimée Gordon plays Joan in Act I and Nettie in Act II and does both with nuance and differing detail. In Act 1, Reena Goze plays Ted, a hay-sucking farmer with little use for girl farmers, until he meets the love of his life and changes his tune. In Act II Reena Goze plays Sue Tanaka, who tries to find good in everyone.  Megan Murphy plays Dot, Joan’s sister. She’s always cheerful and enthusiastic. Alicia Salvador plays Liz in Act I, a fastidious organizer of the Farmerettes, always a stickler for the rules; and in Act II Salvadore plays Lucy, the angry Tanaka sister who resents how her parents were treated. Carina Sălăjan is an actor of wonderful creativity. She plays Amalia in Act I, a dour woman, watchful and knowing of how terrible war is; in Act II she plays Mrs. Franklin, a ‘straddle-walking’ misery who resents cooking for the girls and feels that slop plopped on their plates is nourishment enough. Carina Sălăjan also plays various other characters, but especially a mischievous boy who taunts the girls by making fart sounds and also keeps scratching his backside. Hilarious.

You will have a better appreciation of peaches, onions., farm labour, and the power of an embracing community after seeing this wonderful show.

4^th Line Theatre Presents:

Plays until July 20, 2024

Running time: 2 hours 30 minutes (1 Intermission)

www.4thlinetheatre.on.ca

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Live and in person at the Hamilton Family Theatre Cambridge, Cambridge, Ont. Playing until July 6, 2024.

www.draytonentertainment.com

Written by Robert Harling

Directed by Sheila McCarthy

Set by Douglas Paraschuk

Costumes by Jennifer Wonnacott

Lighting by Siobhán Sleath

Cast: Lauren Bowler

Ellen Denny

Sharon Heidt

Mary Pitt

Chick Reid

Blythe Wilson

The hilarious secrets and truths shared in a hairdresser’s salon.

What is there about hairdressing salons that make women so comfortable that they tell their hairdresser and each other their innermost secrets and gossip?  

We are in Truvy Jones’ (Sharon Heidt) hairdressing salon. She has a new hairdresser, Anelle Dupuy-Desoto (Lauren Bowler) and it’s her very first day on the job so she is getting the lay of the land of how Truvy runs her salon. Shelby Eatenton-Latcherie, (Ellen Denny) is getting married later that day and she and her mother M’Lynn Eatenton (Blythe Wilson) are coming in to get their hair done. M’Lynn is anxious and hovering, trying to control every decision Shelby makes, much to Shelby’s dismay. The regulars arrive: Clairee Blecher (Mary Pitt) has a quip for every occasion and a laser focus to see the stupidity in things; Ouiser Boudreaux (Chick Reid) has a complaint for every occasion and gives it with panache and a look of disdain.

There are secrets to share; stories about a husband who is distant and likes to shoot off guns for fun; relationships gone wrong; a marriage that might not be prudent; ill-health to deal with; all handled by women with grit and a sense of humour. Any woman who has ever stepped foot in a hair salon will recognize the characters, the conversation and the secrets.

Sheila McCarthy directs this with style and of course a keen sense of the humour of the piece and how to realize it so beautifully. The acting is fine. Lauren Bowler as Anelle Dupuy-Desoto is initially tentative because Anelle is trying to fit into the rhythm of the salon, but then she gets more and more confident. As Truvy Jones, Sharon Heidt is upbeat, jolly and compassionate when needed. Ellen Denny as Shelby and Blythe Wilson as M’Lynn are a colourful daughter and mother. Shelby is frustrated by her mother M’Lynn’s interference, but controls it nicely, in Ellen Denny’s measured performance. Blythe Wilson is both uptight and loving as M’Lynn and then has to deal with a tremendous upheaval in her life, and Blythe Wilson negotiates that beautifully too.  As Ouiser Boudreaux, Chick Reid rises to the occasion of snapping every one of Ouiser’s caustic comments to that whenever she enters we know it will be funny. The same can be said of Clairee Blecher, played with supreme confidence and timing by Mary Pitt. We know early on in the show that Claire has the best lines and the most withering observations. She says to Ouiser, “I love you more than my luggage.” It’s said deadpan, evenly and leaves you shaking your head at the silliness but rightness of the line when Mary Pitt says it.

It’s interesting that a man wrote this—Robert Harling—and he’s bang on in capturing the conversations and thoughts of women. The impetus for writing it was his sister, Susan, who died of kidney failure due to complications from diabetes. The story is reflected in the play.  

Steel Magnolias is a bitter-sweet play of women bonding with their friends; exchanging gossip and secrets, and supporting each other when disaster happens. It’s a treat of a play and a dandy production.

Drayton Entertainment Presents:

Playing until July 6, 2024.

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

www.draytonentertainment.com

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I saw this on the Facebook and have no idea if it’s from Bill Gates or not, but the comments are brilliant for those willing to consider them:

Bill Gates was invited by a high school to give a lecture. This is what he said in five minutes:

1. Life isn’t easy — get used to it.

2. The world is not concerned about your self-esteem. The world expects you to do something useful for it BEFORE you feel good about yourself.

A former cleaning lady becomes a chef and fulfils her dream of having her own organic restaurant

True story: A simple (but powerful) gesture of kindness from a CEO

3. You will not earn $20,000 a month once you leave school. You won’t be vice president of a company with a car and phone available until you’ve managed to buy your own car and phone.

4. If you find your teacher rude, wait until you have a boss. He will not feel sorry for you.

5. Selling old newspapers or working while on vacation is not beneath your social standing. Your grandparents have a different word for it: they call it opportunity.

6. If you fail, it’s not your parents’ fault. So do not whine about your mistakes, learn from them.

7. Before you were born, your parents weren’t as critical as they are now. They only got that way from paying your bills, washing your clothes and hearing you say they’re “ridiculous.” So before saving the planet for the next generation wanting to fix the mistakes of your parent’s generation, try cleaning your own room.

8. Your school may have blurred the distinction between winners and losers, but life isn’t like that. In some schools, you don’t repeat more than a year and you have as many chances as you need to get it right. This looks like absolutely NOTHING in real life. If you step on the ball, you’re fired… STREET!!! Do it right the first time!

9. Life is not divided into semesters. You won’t always have summers off, and it’s unlikely that other employees will help you with your tasks at the end of each term.

10. Television is NOT real life. In real life, people have to leave the bar or the club and go to work.

11. Be nice to the CDFs (those students that others think are assholes). There is a high probability that you will work FOR one of them.”

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