Lynn

Live and in person at the Tarragon Theatre, Extra Space. Produced by The Howland Company. Playing until Dec. 17, 2023.

https://tickets.tarragontheatre.com

Written and performed by Rachel Cairns

Directed by Courtney Ch’ng Lancaster

A deeply personal and intellectually rigorous exploration of the many issues surrounding the choice to have a baby or not and all the existential, societal and ethical questions surrounding it.  

In 2019, actor Rachel Cairns learned she was pregnant. She was careful but the IUD device slipped and that compromised her protection. She wanted a baby eventually but not now. Her reasons were many: not the right time; she didn’t make enough money as an actor to bring a child into the world; what kind of a world would that be; what about the issues of climate change, etc. Her boyfriend did not voice a strong opinion. It was her choice.  

What followed was Cairns doing copious Google searches about the various questions that bothered her. At times the bombardment of facts, screens and information projected on the back wall of the set was like information overload. But that is the point. Cairns and Courtney Ch’ng Lancaster, her rigorous, gifted director put the audience right in the middle of Cairns’ experience.

When Cairns went to the claustrophobic doctor’s office with her mother as support, the audience felt the closeness of the room. When Cairns took the pills that would begin the purging process the audience got a hint of the gut-wrenching pain, discomfort, emotional upheaval and the multitude of feelings she experienced.

While Cairns began her solo show by focusing on the personal, she then broadened the scope of her observations by noting how lucky she was to have health-care and the means to make the decision while others: Indigenous women, disadvantaged women; women from other countries not as prosperous as Canada, do not have that advantage.

Cairns explored the question of when life begins by having a kind of imagined debate with an on-line guru on abortion. It was extended, thought-provoking and even had the guru question Cairns about why she gave this person so much credence. Cairns’ show is serious but it’s got moments of wonderful humour. Cairns knows how to shape an argument and a joke in equal measure.

And she’s not afraid to make herself look privileged when she least expects it. She notes an evening she and her boyfriend had when they went out with a Pakistani couple who were friends of her boyfriend. The couple had children. Cairns, taking on the voice of the Pakistani wife, calmly yet pointedly explained how culture and societal dictates present an entirely different situation for women. They don’t have a choice about having children; are under the thumb of their husbands, or might be abused. The speech was chilling. It was one of several that made you sit up and suck air.

Hypothetical Baby is a sobering, deep look at a question many women ponder. Rachel Cairns gives her audience a lot to think about. She’s a terrific writer and actor.

The Howland Company presents:

Plays until Dec. 17, 2023.

Running time: 85 minutes.

https://tickets.tarragontheatre.com

{ 0 comments }

Live and in person at Theatre Aquarius, Hamilton, Ont. Playing until Dec. 23, 2023.

www.theatreaquarius.org

Book and lyrics by Steven Gallagher

Based on the novel by Eleanor H. Porter

Music by Linda Barnett

Directed by Robert McQueen

Supervising music direction and orchestrations by Mark Camilleri

Choreography by Julie Tomaino

Set and costumes by Cory Sincennes

Lighting by Jareth Li

Sound by Brian Kenny

Cast: Miles Avery

Adam Brazier

Joel Cumber

Peter Fernandes

Athan Giazitzidis

Sofie Greenspoon

Arinea Hermans

Linda Kash

Fin Kirk

Ha’Keena Maneso

Alexa Meixner

Charlotte Moore

Keith Savage

Jessica Sherman

Adam Stevenson

Henry Tiller

Shaadee Vahdat

Kelsey Verzotti

Emily Watt

Jenny Weisz

Pollyanna The Musical is about the power of goodness, finding optimism when you least expect it and changing the world through it. This world premiere is buoyant, lively and Pollyanna’s cheerfulness, no matter what, is infectious.

NOTE: Since Eleanor H. Porter’s children’s novel, “Pollyanna” was first published in 1913 it has become hugely successful, selling over one million copies. However, to be called a “Pollyanna” is to be considered ‘blindly optimistic’ to look at the world through rose-coloured glasses. Hardly a compliment. That’s why the book and now this musical is a revelation of nuance, subtext and depth.

The Story. At the beginning of the story, Pollyanna Whittier is 11 years old and an orphan. She is going to live with her Aunt Polly Harrington (her Mother Jennie’s sister) in Beldingville, Vermont.

Pollyanna is cheerful, always sees the good in a situation no matter how dire and tries to pass on that goodness to others. Her Aunt Polly is dour, rigidly proper and unsmiling. She takes in Pollyanna out of duty.  When Pollyanna arrives she begins to charm the townsfolk, much to the horror of her proper Aunt. Slowly but surely Pollyanna’s good nature begins to have an effect on everybody, including her Aunt Polly.

The Production. We meet Polly Harrington (Jessica Sherman) at the top of the production. She is a prim, self-contained woman who is constantly concerned about propriety and doing her duty. Her clothes are respectable, subdued in colour, not flashy and give the impression of Polly being buttoned up. (Kudos to costume designer, Cory Sincennes). Polly lives according to a set time for getting up in the morning, for eating meals and for doing chores. There is little variation in her routine until her niece Pollyanna, arrives.  

Polly feels it is her duty to take in the child, much as Polly does not want to. Polly has resented her sister for ‘abandoning’ her in this town. Years before both sisters planned on moving away and living their lives travelling and seeking adventure. Then Jennie met and fell in love with a man and went off to marry him, leaving Polly in that town. Her dreams dashed. Polly has carried that resentment all those years.

Jessica Sherman, as Aunt Polly, has that ram-rod straight-backed demeanor that sends out warning signals to anyone who dares to get close to her. Sherman sings in a beautiful clear voice, full of bottled emotion. But over time, living with that irrepressible spirit known as Pollyanna, Aunt Polly slowly, begins to soften. Her clothes become brighter in colour. There are stylish but tasteful flourishes. She has a long journey to finally say “I love you” to Pollyanna.

Linda Barnett (music) and Steven Gallagher (lyrics) give Pollyanna (Emily Watt) a beautiful song at the top of the production that sets up Pollyanna’s philosophy of life. And director Robert McQueen establishes it beautifully. Pollyanna sits on a bench at the train station waiting to be picked up. She sings about how her mother carefully taught her to find the good in people and situations. She even makes a game of it. She remembers those life lessons as a way to hold her mother close. Robert McQueen has Pollyanna sit still on that bench, no one else is in the scene, our attention is focused only on her. Emily Watt as Pollyanna gives a performance that is assured, committed and beautifully sung and acted. Emily Watt is so accomplished in the role one has to shake one’s head in wonder: “how old is this kid?” This kid is in fact 11. Astonishing.

Director Robert McQueen has been meticulous in his casting of the production. The townsfolk of Beldingville are refreshing because they look like real people of a town and not people from ‘central casting. They are all shapes, sizes, ethnicities and attitudes. While Pollyanna is ‘at sea’ about what will happen in this new town she sets about bolstering herself by remembering her mother’s advice. She is always cheerful to her unsmiling  aunt and to whomever she meets.

She hears that Mrs. Snow (played wonderfully by Linda Kash, as prickly, ill-tempered and frustrated) is a shut-in, bedridden, irritable and hates opening the curtains to her room, so naturally Pollyanna visits her bringing an assortment of meat pies. And Pollyanna keeps visiting Mrs. Show until Pollyanna’s kindness and good nature melts Mrs. Snow’s heart.

Pollyanna does the same for Mr. Pendelton (Adam Brazier), also an irritated man who does not like being bothered by children etc. made worse because he injured his left leg (note: I believe the cane should be in Pendelton’s right hand and not the left to alleviate the pressure on the injured leg). Adam Brazier gives a lovely performance as Mr. Pendelton—a man wounded by disappointment in love and life. Pollyanna sees through that too.  

There is a great sweep to Pollyanna The Musical. The music and lyrics establish character, attitude and tone. Robert McQueen and his gifted choreographer, Julie Tomaino,  establish a growing exuberance of the characters and townsfolk as they change from being solitary and insulated to being considerate of others and communal, all because of Pollyanna.

Some might have called the story of “Pollyanna” ‘saccharine.’ That would be incorrect. Saccharine is an artificial sweetener made of chemicals that are not good for you. “Pollyanna” is about the power of goodness to change people and situations; to give people the resolve to carry on under depressing circumstances, to be better and not just because it’s one’s duty. Pollyanna The Musical will change your mind about what you think the story is. And then you will read the book. And then you might see the musical again because it’s pure joy.

I do have some concerns and I hope constructive suggestions to strengthen the piece as it undergoes further development for future productions:

• The balance of the sound of musicals is a frequent concern. The band is covered in this production and Mark Camilleri is a find conductor. But at times it sounda as if the band is coming close to overpowering the singers. Perhaps more attention to the balance is in order.

• The characters of Widow Benton (an exuberantly vocal Charlotte Moore) and Mrs. Snow (played by Linda Kash as wonderfully prickly and ill-tempered) seem too similar in nature. It’s Mrs. Snow who has the transformation from her behaviour and situation and should be the focus of the two characters. I think the part of Widow Benton should be rethought (not cut, because Charlotte Moore is so useful in the show. And while I realize she is the understudy for Mrs. Snow, that doesn’t mean her part should be so similar in nature to Mrs. Snow.)

• The song “Lucky Day” takes place in Miss Pearl’s dress shop. Aunt Polly is taking Pollyanna there for some new clothes (a small step in Aunt Polly’s softening). The shop staff are abuzz with excitement and clothes and coats are brought out for Pollyanna to try on. But Mrs. Snow and Millie, Mrs. Snow’s daughter, are also there for clothes (a large step in Mrs. Snow’s softening). The scene seems too cluttered with both Pollyanna and Millie ‘transforming.’ Millie is already a woman inching towards independence and love, all on her own. I think Mrs. Snow and Millie should be cut from the scene—but give Millie a song later on with Frank her ‘intended’ perhaps?

• At the end of that song the whole shop empties because the train is coming in and that’s exciting for them. Pollyanna rushes out to see it. Aunt Polly, always afraid of looking bad or embarrassed, chases after her. The next scene has the townsfolk and I believe Pollyanna dancing. Where is Aunt Polly? Where did she go? She’s not in that scene, not even observing, where is she? She didn’t go home. I think this needs to be reviewed.

• The show does not conclude, it seems to end on an uncertain note for the audience. The book gives a hint, but Steve Gallagher doesn’t use that. Pollyanna has some health issues at the end of the show. She is going away for treatment that may or may not work. The finale, as is, has the whole town gather to see her off, hopeful. And it ends, of course with the town changed to be a caring community. But the audience needs some assurance that this treatment will work out, since they have fallen in love with this indomitable spirit known as Pollyanna. Why can’t the scene and song remain, but the intention be changed? Instead of Pollyanna going away for treatment, why can’t the finale be her returning to them after treatment, still in the wheelchair, but then she does something to show that everything will be ok, as per that small final scene in the book? Just a few thoughts of a smart, joyful, uplifting show.  

Comment. The similarity between “Anne of Green Gables” by Canada’s own Lucy Maud Montgomery, published in 1908 and “Pollyanna” by American writer Eleanor H. Porter published in 1913, is marked. One story made me think of the other story.  Both are about orphans with distinct personalities. Anne is curious and spirited. Pollyanna always tries to see the good in people and to see the good in bad situations. Both have to win over a ‘rigid’ presence in their lives: Anne has to win over Marilla Cuthbert, Pollyanna has to win over her Aunt Polly. By dint of their indomitable personalities, they both succeed.

We live in fractious, angry times. Pollyanna’s philosophy of finding good in prickly people and bad situations is heartening and uplifting. Pollyanna The Musical is perfect for the holidays and every single day after that. It has a message, an attitude, a philosophy that is more effective in changing the world, or at least an obstreperous person, than anything else.

Theatre Aquarius Presents:

Runs until Dec. 23, 2023

Running time: 2 hours 15 minutes, (1 intermission)

www.theatreaquarius.org

{ 2 comments }

Live and in person at the Winter Garden Theatre, Toronto, Ont. Presented by Boldly Productions and the Winter Garden Theatre. Playing until Dec. 31, 2023.

www.ChrisMrs.com

Music, book and lyrics by Matthew Stodolak and Katie Kerr

Directed by Katie Kerr

Musical director, Matthew Stodolak

Choreographer, Sarah Vance

Set and Costumes by Cory Sincennes

Lighting by Mikael Kangas

Sound by Ranil Sonnadara

Cast: Eric Abel

George Absi

Carla Bennett

AJ Bridel

Andrew Broderick

Devon Michael Brown

Lucien Duncan-Reid

Henry Firmston

Shelley Kenney

Heather Kosik

Kale Penny

Jason Sermonia

Olivia Sinclair-Brisbane

Sarah Lynn Strange

Liam Tobin

Danielle Wade

Addison Wagman

Mark Weatherley

A world premiere of a Hallmark Christmas type story on stage full of cheer, exuberance, a thorny story that is in need of a happy ending and this being the festive season, needs are fulfilled. Now if the band didn’t drown out the singers and we could actually hear the lyrics, that would be swell.

The Story. We’re all familiar with those formulaic Hallmark Christmas movie/television shows: harried, lonely, good-looking people, travel home etc. for the holidays, sometimes reluctantly, meet someone, sparks fly and romance blooms.  The world premiere of Chris, Mrs.-A New Holiday Musical is like that, only it’s on stage at the Winter Garden Theatre.

Sometimes it’s best to let the show’s website explain the story, or at least start there:

“Our story begins in the city, where festiveless father Ben Chris leverages his late parents’ lodge in exchange for a promotion. The only problem is, his brother Charlie still runs it. Ben reluctantly decides to head there to convince him to sell, packing up his socialite girlfriend Vicki, and his children – teenage daughter Claire and troublemaking twins Samuel and Samantha. 

After discovering a ring in their father’s suitcase, the twins write to Santa for assistance, which seems to appear in the form of Holly, a seasonal employee at the lodge. Between Charlie’s nostalgic nature and Holly’s Christmas cheer, it soon becomes a holiday no one will forget.”

Some added information: Ben Chris is a widower. His wife got sick and died a few years before. He misses her and has not been back to the lodge because his wife loved the place and it brought back too many painful memories. He threw himself into work as a high-end advertising executive.  Ben’s brother Charlie misses Ben too. They are distant. Vicki seems a driven person in the advertising game as the face of an ad campaign. There is Ben’s assistance, Candace, a buoyant, thoughtful, smart woman who sees what is going on around her.

The Production. Corry Sincennes has designed a festive set of the outline of the lodge with lovely holiday touches. Set pieces roll on and off with ease and efficiency. Corry Sincennes’s costumes are also first rate. They are corporate-spiffy for the dress-for-success types like Ben Chris (Liam Tobin) and his ambitious girlfriend Vicki (Olivia Sinclair-Brisbane). Vicki’s cloths are black, form-fitting and indicate “don’t get too close or I’ll claw you.” For those working at the lodge Corry Sincennes’s costumes are rustic and well worn. Candace (Sarah Lynn Strange) is created as an easy target for comedy. She is loud and boisterous, has no fashion sense and so Corry Sincennes has a field day creating garish clothes for her: colours that clash; a dress that is layered and looks like a Christmas Tree that sways when she walks. Sarah Lynn Strange as Candace plays it up, but Candace is also wily and clever when it counts.

The production begins with a bang, at a raucous Christmas-bonus-celebratory party. “Just Another Jingle” is sung by a whole host of corporate types, lead by a dashing man with a chiseled jaw, who is all swagger. I have no idea who he is or why he is singing this song. I also don’t have a sense of many of the lyrics because the band is playing so loudly it’s drowning out the lyrics. Choreographer Sarah Vance makes her mark at the get-go as well. The dancers jump, pirouette at a dizzying rate and do the splits in that first number. Again, I’m asking why are they doing all that flashy stuff without a supporting reason. And if they are standouts in these attention-pulling gyrations, why are they not consistently attention-grabbing throughout the show? A bit of an imbalance there.

The dashing man is Ben Chris. He’s just created an important ad campaign (I think—those drowned out lyrics might give a clue). He has to convince his brother to sell the lodge (again those lost lyrics may have the key).

In that first scene, Vicki, a really forceful Olivia Sinclair-Brisbane is all over Ben, commandeering him as her ‘love interest.’ He almost never looks at her because their relationship is a public relations ploy. Vicki is playing it for real as a stepping stone.

Holly Carmichael (Danielle Wade) always helps out at the lodge but then flies off to be with some new boyfriend at inopportune times until she is disappointed and comes back. She is now at the lodge when she meets Ben and his three children: teenager Claire Criss (AJ Bridel) and the twin pre-teens: Samantha (Addison Wagman) and Samuel Chris (Lucien Duncan-Reid). I must confess that I thought Claire was looking after the younger kids because AJ Bridel looks more mature than a teenager. (And later when she and Holly (Danielle Wade) meet, they look about the same age). Both are gifted, it’s just that they look to be the same age.

There is also a rather mysterious white bearded man named Nick (Mark Weatherley) who is very sophisticated, very charming and beautifully dressed in a tailored red blazer. He helps move the story forward by dispensing wise advice to confused people.

The cast is a powerhouse of talent. Liam Tobin as Ben has a strong singing voice and is a charmer as Ben when he realizes where his heart is. Danielle Wade as Holly is down to earth, fun-loving with the two pre-teens and is flirty and sensible with Ben. Olivia Sinclair-Brisbane as Vicki is ambitious and won’t let anything get in her way. She sings “These boots are made for walking but these heels are made for climbing.” Brilliant lyrics that say everything about Vicki. Wonderfully played by Olivia Sinclair-Brisbane.

The driving force behind Chris, Mrs. is the dynamic duo of Matthew Stodolak and Katie Kerr. They wrote the music, books and lyrics. The music sounds generic and up-tempo. The lyrics, when I could make them out, are very clever.

Matthew Stodolak is the Musical Director. Perhaps if the band was not playing in the open in one of the side balconies and was in a covered orchestra pit the level of loudness of the band could be regulated better. As it is, the singers are often drowned out, even though they are all microphoned. Katie Kerr also directs the cast and she is efficient with her staging and keeping the pace going.

Comment. Chris, Mrs. -A New Holiday Musical is based on an old formula of the Hallmark Christmas movies. It’s sweet and funny with few surprises, and sometimes that’s not a bad thing. The whole enterprise is committed and engaging. Just right for the holidays.

Boldly Productions and the Winter Garden Theatre Present:

Plays until Dec. 31, 2023.

Running Time: 2 hours, 20 minutes (1 intermission)

www.ChrisMrs.com

{ 0 comments }

Live and in person at the Factory Theatre, Mainspace, Toronto, Ont. plays until Dec. 17, 2023.

www.factorytheatre.ca

Written by Daniel MacIvor

Directed by Tawiah M’Carthy

Set, props and lighting by Andre Du Toit

Sound by Olivia Wheeler

Wardrobe stylist

Cast: Damien Atkins

Stylish, bracing, mysterious and beautifully realized.

Playwright Daniel MacIvor has updated his 2006 masterful monologue to reflect changes in our modern world. What has not changed is that Henry (Damien Atkins) is still a man alone in a room on a mission to tell us something we don’t already know. That can be almost anything.

Damien Atkins as Henry, appears in a blinding rectangle of light—bravo to Andre Du Toit for the precise lighting. Henry wears a grey suit, white shirt, no tie and is barefoot. Perhaps the bare feet is showing theatre respect for the stage.   And while Henry is charming, disarming, wide-eyed, curious about the world and who is out there, Henry admits he is a self-confessed liar. He’s a man who tries to improve. He took a public speaking course and inadvertently displays some of the things to avoid. Uttering “uhm” when at a lost for words. Saying “Sorry” when an apology is not necessary. He then gets into a frenzied loop of saying: “Uhm. Sorry, Uhm” etc.

Henry tells us of his early boyhood days, he mentions he is homosexual and says it as a matter of course. It’s a life full of incident, relationships etc. He mentions “the body in the other room.” Who is it, one wonders? Its it someone Henry knows? Is it a stranger?” Did Henry kill the person? Is it a lie in order to look with wonder and intrigue at Henry? It’s to the acting ability of Damien Atkins and director Tawiah M’Carthy that we are always suckered onto the story and the play and almost as an afterthought remember that Henry said he was a liar.

Damien Atkins is so focused, compelling, seemingly lost in a moment, perhaps anxious that he just wins over the audience to like him, believe him and feel he’s telling the truth, until he reminds us he’s a liar. Or so he says. He notices the shirt of a person in the audience. He notices another person in the audience for another innocuous reason. Again, Damien Atkins makes Henry so likeable, even with a little barb here or there.

Tawiah M’Carthy’s direction is detailed, meticulous and intricate. Andre Du Toit’s evocative lighting is almost another character in the show. It’s stark and arresting. Masterful work.  

Ant the title is a delicious pun.

Factory Theatre presents:

Plays until Dec. 17, 2023.

Running time: 80 minutes (no intermission)

www.factorytheatre.ca

{ 0 comments }

Live and in person at Theatre Orangeville, Orangeville, Ont. Produced by Theatre Orangeville. Playing until Dec. 23.

www.theatreorangeville.ca

Written by Debbie Collins and David Nairn

Directed by David Nairn

Choreography by Candace Jennings

Set design by Beckie Morris

Costume Design by Wendi Speck

Lighting design by Chris Malkowski

Cast: Debbie Collins

Jillian Mitsuko Cooper

Billy Lake

William Lincoln

Connor Meek

Ben Skipper

Musicians: Ryan Avery (Guitar)

Nicholas Mustapha (Musical director-keyboards)

Cinderella like you have never seen her before: smart, contemporary, environmentally responsible. A panto that’s perfect to start off the holiday season with plenty of laughs and appropriate booing.

Cinderella with a twist. Cinderella (Jillian Mitsuko Cooper) is trying to save the family farm. She sells her produce at the local market where she meets Prince William, busking. He gives her a fake name. He does not want to go into the family development business. He wants to be a musician.

Cinderella’s dastardly Evil Stepmother (Debbie Collins) is trying to sell the farm to a greedy development corporation, run by Prince William’s father, even though they can’t find the deed. Then there are Stella (Billy Lake) and Blanche (William Lincoln), Cinderella’s Silly Stepsisters (and the Evil Stepmother’s daughters). I figure if the daughters are named Stella and Blanche then perhaps the Evil Stepmother was literary and was reading A Streetcar Named Desire at one time.

Our guide in merriment is Buttons (a joyful Ben Skipper). He says through the show he will enter, wave, say “Hi, Kids” and we are to wave back and yell, “Hi, Buttons.” He also says that when the Evil Stepmother arrives, we are to boo her roundly every single time. I think we even rehearsed it. However, my audience was a bit hazy on the instructions. When Stella and Blanche arrive, the audience boo them too, so much so that Stella (a very forthright and hair flipping Billy Lake) chastises the audience for not following instructions. They boo harder and do so every time the Silly Sisters appear.

We wait impatiently for the Evil Stepmother (Debbie Collins). She arrives bellowing insults at every person she sees. She incites the audience to boo more. She flings rude remarks, like confetti. Is she ad libbing? Are those comments on the Greenbelt and Doug Ford scripted? Does it matter? As the Evil Stepmother, Debbie Collins is a master of meanness, the well-placed retort, funny, even impish. She owns the stage and it’s impressive to witness.

Cinderella goes to the ball but not as you expect and even the slipper has been given the modern treatment by co-writers Debbie Collins and David Nairn. This is a fairy tale for the modern age and it’s dandy.

As Cinderella, Jillian Mitsuko Cooper is pure charm. She is a smiling, buoyant young woman with integrity, spirit, an optimism that is infectious and a beautiful singing voice. As Prince William, Connor Meek is sweet and shy. Cinderella’s influence makes him stand up for himself with his father. As Buttons, Ben Skipper is always engaging with his “Hi, Kids!” and our reply “Hi, Buttons.” I must confess, I thought that ‘shtick’ went on a bit too long.

David Nairn directs with a good sense of pace and good humour. A few entrances seemed draggy on opening, but I’m sure will be worked out as the run progresses. The set by Beckie Morris is simple, colourful and efficient. Wendi Speck’s costumes are terrific in encapsulating each character, for example, the Silly Stepsisters are a poem of bad taste, no style and they make the most of it. The Evil Stepmother is all in black frills.  The music played by Nicholas Mustapha and Ryan Avery is unobtrusive and always supports the singers.

Cinderella…if the Shoe Fits is a fresh take on a beloved fairy tale, is modern, funny and great family fare. Let the laughing and booing begin.

Theatre Orangeville Presents:

Plays until Dec. 23, 2023.

Running time: 2 hours approx. (1 intermission).

www.theatreorangeville.ca

{ 0 comments }

Live and in person at the Aki Studio, 585 Dundas St. East, Toronto, Ont. A Cahoots Theatre Production in association with Roseneath Theatre. Plays until Dec. 17.

Photo: l-R: Daren Herbert, Alicia Plummer

https://www.cahoots.ca/programming/tickets

Written by Alicia Richardson

Directed by Tanisha Taitt

Set by Sim Suzer

Costumes by A.W. Nadine Grant

Lighting by Shawn Henry

Sound by Miquelon Rodriguez

Cast: Uche Ama

Daren Herbert

Sébastien Heins

Alicia Plummer

Emerjade Simms

Amaka Umeh

A beautifully created story and production for both children and adults. It’s heartfelt, perceptive and wise.  

The Story. We are in Eatonville, Florida after emancipation. (Note: Eatonville was founded in 1887 by a group of newly freed Black men—the first in US history, according to the research of playwright Alicia Richardson.)

Ralph, a freed Black man and his young daughter, Sweet Pea, have arrived at the Zucker Farm looking for work. Ralph has dreams of owning a plot of land and growing his own crops. Zucker, who owns the farm—he inherited it from his father—will sell Ralph a small plot of land for $5. Ralph doesn’t have the money. Zucker suggests Ralph work for the money. They shake on the deal.

Sweet Pea notices a plant, languishing. It’s a Mango Tree. Sweet Pea tends the plant with care and love. Ralph says the secret to nurturing plants is to listen to them as well as care for them and Sweet Pea does. The result is that The Mango Tree flourishes, bears fruit and talks to Sweet Pea. The Sun (named Dee) shines light and warmth on the plants and the earth. Dee, The Sun also talks to Sweet Pea. She is a magical child, loving, caring, smart and resourceful.

Ralph works hard on the crops and sells some produce at the market to make some money. But Zucker keeps the money it as his right as the owner of the farm. His word and handshake meant nothing. Ralph and Sweet Pea have to be clever in solving the dilemma of how to make money in order to deal with the unscrupulous Zucker.

The Production. Set designer Sim Suzer has designed a set that is enchanting. There is a structure stage right that seems to be the Zucker house. A sign says: “Zucker Farms.” Above that is a panel on which captions of what is being said are projected. A short picket fence is festooned with flowers. There is a ladder structure up stage with The Mango Tree (Emerjade Simms in a leotard) bent over part of the ladder. When The Mango Tree flowers and bears fruit more ladders are arranged around the initial one with fruit vines floating down. Off to the left is a fenced in parcel of land that Ralph (Daren Herbert) would love to buy.

A.W. Nadine Grant’s costumes are also enchanting and whimsical. Ralph and Sweet Pea (Alicia Plummer) wear colourful work clothes. Dee, The Sun (Uche Ama) wears a beautiful full yellow gown with sun ‘bursts’ in their hair, and carries a yellow parasol. Zucker (Sébastien Heins) wears a form-fitting maroon vest and fitted rust pants. The ‘look’ says ‘success’. Miquelon Rodriguez has created a wonderful soundscape of guitar music and other sound that gives a light, ethereal feel to the work. Shawn Henry’s lighting creates the warmth of Dee, The Sun and the sense of cold and foreboding when The Sun is down. The technical aspects of this production work as a cohesive whole to create a wonderful, thoughtful production.

The relationship of Ralph and Sweet Pea is at the center of Sweeter. As Ralph, Daren Herbert brings out all the love and care of this father for his young daughter. He is playful but firm when he has to be. Sweet Pea learns from him as a matter of course. But Sweet Pea as played by Alicia Plummer, is also a good teacher. When money to buy supplies is scarce, Sweet Pea finds a solution that is thoughtful and smart. Ralph sees it too.

As Sweet Pea, Alicia Plummer is pure sunlight, buoyant, always cheerful and optimistic. She can read a situation and react accordingly. And she spreads her love around, especially to The Mango Tree.

Daren Herbert as Ralph adds so many layers to his performance. When Ralph is given the chance to buy the parcel of land, Daren Herbert as Ralph is terribly moving when he says with a quivery voice, “It’s the first time I had options—work or buy.” There is a piece of business in director Tanisha Taitt’s production that takes the breath away. When Ralph is negotiating with Zucker, played smoothly but with a shiftiness by Sébastien Heins, Zucker wants to shake on it. Ralph hesitates, confused. One sucks air. He’s never been in this position before, that someone would consider him an equal to shake hands with him. Ralph has always been treated as lesser because he was a slave. Now he is a free man. Shaking hands on a business deal is his right. It’s a moving moment right down to the ground.

At one point Ralph looks at Zucker and says something like “we coloured men” including Zucker in the conversation. Zucker seems confused by that, as if he doesn’t consider himself a man of colour, or he wants to ignore it. Alicia Richardson has written a feather of a line that just floats in the air establishing all sorts of possibilities. The matter is not addressed until later in the play and it’s addressed beautifully.

The Mango Tree is played with a winking humour by Emerjade Simms. She is as fragile as a plant that needs water and as fearless as a plant that is loved and watered and listened to by the child who loves her. As Dee, The Sun, Uche Ama crosses the stage, languidly, as The Sun makes the passage from sunrise to sunset; spreading light, warmth and good humour in their own way.  Amaka Umeh plays Jedadiah, a kindly merchant, in an uncredited part. Umeh is pure grace in the part.

Every relationship, both loving and not, between a person, a plant, the sun or the dark is directed with care, sensitivity and compassion by Tanisha Taitt. The production is a gift.  

Comment. Alicia Richardson is a gifted writer. She says in her programme note that “I made this play to give my whimsical, big-hearted 10-year-old self the story she has always deserved.” Alicia Richardson has created a bracing, moving love letter to her 10-year-old self and to all of the rest of the people fortunate enough to experience it, no matter how old they are or where they come from, as long as they listen hard and love what they hear. More please, soon.

A Cahoots Theatre Production in association with Roseneath Theatre

Plays until Dec. 17, 2023.

Running time: 2 hour, 15 minutes (1 intermission)

https://www.cahoots.ca/programming/tickets

{ 0 comments }

Live and in person at Kitchener-Waterloo Little Theatre, Waterloo, Ont. Plays until Dec. 3.

www.kwlt.org

Written by Steven Ellott Jackson

Directed by Todd Davies

Lighting by Noah Snow

Sound by Thomas Humpries

Cast: Andre Furlong

Zivy Hardy

Inese Hill

Ashley King

Lia Mendonca

Katherine Schill

Jackie Wray

This is a “comment” and not a review because the show has closed after a short run.

Playwright Steven Elliott Jackson is fascinated with creating plays about real people in imagined situations. In The Seat Next to the King he wrote about a chance encounter in a men’s washroom between Bayard Rustin (a close friend of Martin Luther King) and Walter Jenkins (a top aide to President Lyndon B. Johnson). In The Garden of Alla he wrote about noted actress, Alla Nazimova.

In his latest play The Funeral to End All Funerals Steven Elliott Jackson tackles the formidable, literary Mitford siblings: Tom, Unity, Nancy, Pamela, Jessica, Diana and Deborah. All were writers in varying degrees of ability and fame. They came into their own from the 1930s into this century.  Politics factored highly to some. Some had questionable ‘friends’—Unity was close to Adolph Hitler and thought his ideas were swell. Another sibling was a Fascist. Nancy was probably the most notable of the Mitford siblings with her many books and references to her by other literary titans of the time.

The siblings arrive at a funeral home for a funeral. A shiny casket with a rose on top commands the space. Each sibling signs the guest book and greets his/her sibling, usually with disdain, contempt, etc. They generally didn’t like each other. Past hurts and insults are revived.

I found Steven Elliott Jackson’s play fascinating, not just because the Mitfords were so interesting, but also because of the way Jackson handled the information about each of them. One sibling chides Unity because she is the close friend “of the greatest murder in history.” Steven Elliott Jackson just leaves that fact there, unexplained until Act II when we learn that man was Adolph Hitler. There is reference to some trouble in Tom’s life in Act I and again it’s fleshed out in Act II that he was gay and that was something that was not discussed.

I thought Steven Elliott Jackson’s subtle handling of the information was refreshing. The siblings knew the background of the information mentioned, while the audience might not (if they weren’t familiar with the Mitfords), but Jackson wasn’t going to let the audience flounder with lack of information. He deftly referenced what happened in Act I and fleshed it out in Act II.  The title is a play on words and Steven Elliott Jackson’s words are dandy.

Director Todd Davies maneuvered the cast around the set with ease. Relationships and reactions were firmly established. And while the acting varied in accomplishment the cast was committed to the work.

Kitchener-Waterloo Little Theatre presents:

Played until Dec. 3, 2023.

Running time: 90 minutes (1 intermission)

www.kwlt.org

{ 0 comments }

Live and in person at Buddies in Bad Times Theatre, Toronto, Ont. Produced by That Theatre Company and Buddies in Bad Times Theatre. Playing until Dec. 17, 2023.

www.buddiesinbadtimes.com

Written by Tony Kushner

Directed by Craig Pike

Set by Brian Dudkeiwicz

Costumes by Louise Bourret

Lighting by Bonnie Beecher

Sound by John Gzowski

Cast: Kaleb Alexander

Brenda Bazinet

Wade Bogert-O’Brien

Soo Garay

Christine Horne

Allister MacDonald

Jim Mezon

Ben Sanders

This is Tony Kushner’s two-part mountain of a play given an impressive, compassionate, beautifully rendered production.

The Story.  The play takes place in America at the beginning of the AIDS crisis and talks about gay issues, AIDS, politics, compassion, community, forgiveness and Roy Cohn.

I call it “a mountain of a play” because it’s so mammoth that it’s presented in two parts over two days, or as an all-day affair on selected matinee and evening days.

The first part is called Millenium Approaches and introduces the various characters, and the seemingly separate relationships, as well as the anticipated arrival of an angel with instructions in how to proceed. Millenium Approaches also introduces the politics of the time, the separateness felt by the gay community, the horror of this mysterious disease called AIDS and this evil man named Roy Cohn who is told by his doctor that he has AIDS. Cohn informs his doctor that in fact he has liver cancer, and if the doctor says otherwise, Cohn will destroy him. And he says, that only homosexuals get AIDS. He, Roy Cohn is not a homosexual. He is a heterosexual who sleeps with men.

The second part is called Perestroika and examines those relationships and how they all intersect. In Russian, Perestroika is described as ‘restructuring’ and was applied to the political and economic situation in the Soviet Union. For the purposes of the play, Part II, Perestroika, is a restructuring of the relationships in the play, society, community and culture.

 It’s theatre for people who are serious about theatre, and there are a lot of them.

Millenium Approaches

It first premiered in 1991 in San Francisco at the Eureka Theatre Company who commissioned Tony Kushner to write the play.

The players:

Joe Pitt is married to Harper.

He is a lawyer/law clerk for a judge. Joe is a Mormon, who is a protégé of the dastardly Roy Cohn. He wants to give Joe an opportunity to go to Washington to work in the Justice Department. Roy Cohn wants Joe in the Justice Department so that Joe can act as his (Roy’s spy). Joe says he has to ask his wife, Harper. Harper is fragile emotionally and on valium. The marriage is in trouble. Harper is lonely.

Hannah Pitt is Joe’s mother.

Louis Ironson is in a relationship with Prior Walter who is sick with AIDS.

Louis works as a word processor in the Brooklyn Federal Court of Appeals. Louis is not sure he can stay with Prior if he is sick. Louis meets Joe briefly in the men’s washroom of the Federal Court—Louis was crying over Prior when Joe walked in and wondered if everything was ok.

Belize is a friend of Prior, Black a former drag queen and now a nurse tending to AIDS patients, one of whom is eventually Roy Cohn.

Millennium Approaches fleshes out the characters and their relationships. There are huge speeches about politics, ethics, Ronald Reagan, justice, the law, and coping with disease. Prior in his haze imagines that an angel is coming to make things right….

And still on the hallucination theme, Ethel Rosenberg appears to Roy Cohn in his stay at the hospital because he was directly responsible for her death.

Perestroika

The characters and the situations are further developed. For instance, Joe leaves his wife Harper because he realizes that he is gay too. He begins a relationship with Louis—Louis sensed that Joe was gay when they accidentally met in the washroom. Louis is an intellectual, presumably politically knowledgeable and has huge speeches when he mouths off about all sorts of things.

The Production. While I divided the play into both parts for the description, I’m considering both parts together.The production is very impressive. This is a herculean accomplishment for Craig Pike who is producing and directing this production. This is his debut as a director. Both parts are beautifully realized, thoughtful, detailed. And it’s loaded with surprises.

Tony Kushner’s stage directions in the text say that the production should be as simple as possible. So rather than have many set pieces and props to establish a scene, Craig Pike has actors bring on a bench, a few chairs and two beds when they are needed. And that’s it.

Each scene is enhanced with Bonnie Beecher stunning, evocative lighting and John Gzowski’s subtle sound design. For instance, the scene with Joe and Louis in the washroom is created on a bare stage with Louis miming washing his hands and the sound of water running, presumably in a sink.   A conversation in a restaurant has two characters in two chairs facing each other, with the ambient sound of tinkling cutlery or cups and saucers, etc. When the angel is ‘approaching’ there is a sound effect of what seems like huge wings flapping. Is the angel going to descend from the ceiling? Crash through a wall. We are prepared. But no, the angel (Soo Garay) struggles on, pushing two walls apart, looking formidable, but surprising.  

This is a true ensemble of gifted actors. The whole cast listens to each other with such intensity, that the audience is gripped too. 

Wade Bogert-O’Brien as Joe is a mass of confusion and contradiction. He is so unsure of himself and so full of guilt at what he knows to be the truth about himself, that his speech is halting. He seems to be editing himself or afraid to tell the truth. As Harper, Christine Horne is compelling. Harper knows she is sick/delicate but she is not afraid of facing and staring down Joe. Brenda Bazinet plays multiple parts, and especially Hannah, Joe’s mother. Bazinet is formidable. Each one of her characters is distinct, detailed and full of nuance.

Allister MacDonald as Prior is emotional and fragile. His mood swings are severe. Between being sick with this mysterious disease and losing his lover, Prior is both knowing of his situation and fearful of it. He has moments of clarity and of despair.

Ben Sanders as Louis is an intellectual motor mouth, always discoursing on philosophy, politics and race relations, but is a total disappointment as a friend, partner or a person of character. Ben Sanders brings out all of Louis’ fragility as a man conflicted and always challenged for his lack of character.

Jim Mezon is a raging bull as Roy Cohn, the embodiment of evil in America. He talks fast, is abrasive, sometimes charming, mostly impatient. When he is in his office or in a meeting etc. sitting, listening to someone talking, his foot ‘taps’ quickly, the impatience to get on with it is focused in that tapping foot.  

For me the beating heart and soul of Angels in America is Belize—who is beautifully played by Kaleb Alexander. Belize listens with absolute stillness while Louis mouths off about race in America—he’s talking to a Black man and he’s explaining race to him. When Louis is finished, Belize (Kaleb Alexander) in the quietest voice and seductive drawl lets Louis know he’s full of baloney—I think he used a stronger term. He calmly explains that Louis does not know what he’s talking about because he comes from a place of privilege and he’s blinkered to the reality of the poor people and the oppressed. The dialogue is scathing. One can feel Belize’s contempt, but not cruelty. One is also aware of Louis’ embarrassment at being put in his place.  

I think Angels in America both parts and as a whole is a huge accomplishment in the theatre and That Theatre Company which is co-producing it with Buddies in Bad Times Theatre, should be commended

Comment. Playwright Tony Kushner writes about the AIDS epidemic, gay issues (he called the whole play “A Gay Fantasia”) and politics, etc. But he imbues his characters with such compassion for each other.  There are characters who are lost but never stop trying to find their way. Is the play dated since AIDS is tamed by medication? I don’t think so. People who are treated as “other” for whatever reason (sexuality, gender identification, race, religion) are still bullied and under threat. The play is still timely, unfortunately. Bravo for That Theatre Company and Buddies in Bad Times for collaborating to produce it.

www.buddiesinbadtimes.com

That Theatre Company in Association with Buddies in Bad Times Theatre presents:

Plays until Dec. 17, 2023.

Runing time: Millenium Approaches is 3.5 hours long (with 1 intermission and a five minute pause) and Perestroika is 4 hours long, (with 1 intermission and a five minute pause.)

www.buddiesinbadtimes.com

{ 0 comments }

Live and in person at Young People’s Theatre, Toronto, Ont. Playing until Dec. 30, 2023.

www.youngpeoplestheatre.org

Adapted by Joe Landry

Based on the story “The Greatest Gift” by Philip Van Doren Stern

From the screenplay by Frances Goodrich, Albert Hackett, Frank Capra and Jo Swerling

Directed by Herbie Barnes

Set and Costumes by Shannon Lea Doyle

Lighting by Shawn Henry

Sound and Foley Consultant, John Gzowski

Cast: Caitlyn MacInnis

Amy Matysio

Shaquille Pottinger

Anand Rajaram

Cliff Saunders

Inventive and joyful.

It’s a Wonderful Life, a Live Radio Play of course is a change of pace from a regular play, but this is no less moving, joyful or celebratory.

The story of George Bailey is the basis of the radio play but how it’s told in front of the theatre audience is what is so magical and interesting. We see this hard-working, energetic cast read the script at microphones, while other cast members make the sound effects needed to create the world of the play. A door closes in a door frame upstage to suggest a person is coming through a door-well and arrives at a destination. A bowl hauled out of a pail of water causes a sound effect to suggest a character is drowning. There are things located around the set that provide sound effects of a person walking, followed by the door closing, followed by other sound effects. Kudos to John Gzowski for the sound and foley work.

Director, Herbie Barnes has directed his cast to be nimble, quick, agile, energetic and very inventive with voices, characterization and body language (even though this is radio) to realize their many and various characters. It’s the kind of activity that shows the theatre audience how radio and even theatre might be made. The audience sees the tricks of making sounds using props and stuff that makes noise.

The story of George Bailey (Shaquille Pottinger) is there front and center. We see George as a young kid who saves his young brother from drowning. George grows up and wants to go to college but there isn’t enough money so he goes to work at a savings and loan company. He works for a mean, stingy man but George’s humanity and kindness towards his fellow citizens is clear. He is always helping others. He rises up in the company. There are bumps along the way—the bank might fail. People need money so George helps out with his own savings.

A parallel story is Clarence (Cliff Saunders) who is an angel waiting for his wings. To earn his wings he has to save George who has fallen on hard times and wants to end it all. Clarence shows George what life would be like without him on earth. Startling. Then George is shown a miracle he didn’t expect. Clarence gets his wings and George gets back his zest for life.

The performances are deliberately broad to accommodate the radio audience at the time. So, Shaquille Pottinger as George is exuberant and sweet. Cliff Saunders playing many parts is almost manic and therefore funny as he segues from character to character. Anand Rajaram also plays many parts including George’s father, which he does in a Jimmy Stewart accent and voice—harkening back to the film in which Jimmy Stewart starred. Rajaram is an explosion of invention playing many and various characters with style and verve. Caitlyn MacInnis and Amy Matysio play the female characters with distinction and detail.  

Young People’s Theatre Artistic Director, Herbie Barnes told the opening night audience that he programmed It’s a Wonderful Life, A Live Radio Play because it was a show for the whole family to see together and then discuss afterwards. What magic for kids to see how a sound is made, from a door slamming, to water splashing, to a fluttering of hanging metal that makes a tinkling sound. Wonderful.

Herbie Barnes also wrote a programme note that is so worth repeating and so I will:

“As we programmed our 2023.24 season—over a year ago—we had to try to foresee what might be of most importance for young people. Immediately post-pandemic (last season) we focused on bringing back joy.

When we selected It’s a Wonderful Life: A Live Radio Play as our holiday offering, we had already noticed something else—the struggle that so many faced in re-learning how to share space with one another. Altercations on our transit systems, in our classrooms and on our streets started to appear in headlines.

Our time of isolation made us forget that we are a community and that we need each other to exist. It’s a Wonderful Life: A Live Radio Play is a shining example of that simple fact. George Bailey spends his whole life giving to his neighbours. And in this play, his community is finally able to return that generosity.”

Beautiful.

Young People’s Theatre presents:

Plays until Dec. 30, 2023.

Running time: 80 minutes, approx.

www.youngpeoplestheatre.org

{ 0 comments }