Streaming on the Soulpepper Theatre website until June 30, 2021: www.soulpepper.ca

Written, directed and performed by d’bi.young anitafrika

Sound engineer, Mohammed Rowe

Audio producer, Matt Rideout

The Story and comment. She Mami Wata & The PxssyWitch Hunt by d’bi.young anitafrika is part of Soulpepper Theatre Company’s audio series, Around the World in 80 Plays. This one takes place in three locations in Jamaica, flitting back and forth in time, and deals with the stories of four friends from the time they were young children growing up to adulthood. The play deals with some pretty heavy subjects.

The four friends in the play are: Niki, Michael, Everdon and Kizzy. When Michael was very young his mother died under suspicious circumstances that we find out about late in the play. He was raised by a character known as Auntie Doris, the town dressmaker.  She also raised Everdon. The two boys were very close as they were with the two girls, Niki and Kizzy. A woman name Moddah Terza was very close to all four as children. They always went to her house for a story before school and because of that detour were always late for school.  Moddah Terza is the narrator  and the knower of secrets it seems.

We listen as the four young friends play joyfully, but then they discover their bodies, sexuality and how that awareness does not necessarily conform to their religious upbringing.  As the info on the plays says: “The drama explores the intersection of identity, sexuality, gender, religion, and (de)colonization.”

But in her own note, d’bi.young anitafrika is more direct: “The play centres on gender sexuality and the erotic life of the four friends, growing up in present day Jamaica, who are challenged to renegotiate their complex relationship under the ‘buggery’ laws—a colonial import of the homophobic British Buggery Act of 1533, which criminalized sex between men.”

The four friends had restrictive laws to adhere to as well as the oppressive rule of the church as expressed by the new pastor.  The play opens with a special Sunday service in the Church of the Righteous of Little Rock. (that’s Jamaica not Arkansas.) The new pastor named Paster M is to preach and the whole town of Little Rock is there. Sister Kizzy greets everybody. Brother Everdon is there too—he is described as a man who dresses to impress.  While the congregation is dutifully there, the sermon is fiery. Paster M chides anyone who is late—Everdon was late and Pastor M made a comment about it.  Paster M warns against garish dressing; the shade of shoes one can wear; that piercings are forbidden as are nose rings. (In a wonderful bit of irony, or perhaps a sneer at the church, playwright, d’bi.young anitafrika wears an impressive silver nose ring). So rather than being a stirring, inspiring sermon, it’s one of fire, brimstone and damnation if anyone gets out of line.

As the story progresses, we realize that as the friends grew up relationships changed and friendships were destroyed.  Some of the scenes take place in Kingston, Jamaica at the PxssyWitch, a “women only” club where Niki is the lead stripper.  

The Production. Because the play flits from place to place over various times, keeping track of where we are in the story could possibly be tricky. But director d’bi.young anitafrika has attended to that. There are specific sound cues for the different places and times, thanks to the artistry of Mohammed Rowe, the sound designer for this production. We know we are back in the children’s childhood when the scenes are introduced by the sounds of children laughing. We know we are in the PxssyWitch when we hear garish music and crowd noise. There are all sorts of hymns and music and church noise to place us there in the Church of the Righteous of Little Rock.

d’bi.young anitafrika plays every single part—all four children both as kids and adults; Pastor M; Doris and Moddah Terza. Again, the sound of echoes and different tones establishes if a voice is a woman’s or a man’s.  anitafrika speaks in a crisp, clear distinctive voice for every character and since it takes place in Jamaica the patois is pronounced but not challenging if you listen.

Much of the play is presented as a dub poem—a form of performance poetry that originated from dub music in Kingston, Jamaica in the 1970s.  I was mighty impressed with She Mami Wata & The PxssyWitch Hunt. d’bi.young anitafrika has packed the play with such rich language and expressions that she compels you to listen hard to pick up various turns of phrase.

The play does not unfold linearly but in bits and pieces. I was wondering if Kizzy is called “Sister Kizzy” and Everdon is called “Brother Everdon” early in the play does that mean they went into a religious life? No it doesn’t. “Sister” and “Brother” are expressions used for members of the congregation. As the play goes on the bits and pieces coalesce and the clear picture reveals itself.

anitafrika is a vivid, compelling, joyful performer who never shies away from tough subjects. She Mami Wata & The PxssyWitch Hunt  is part of a trilogy that explores queer black feminism, divinity, political activism and the black diaspora experience.   While I feel that writing, directing and performing the play is a huge accomplishment, I do believe that d’bi.young anitafrika could use an independent director to edit the writing and clarify some of the scenes. Somebody needs to tell the writer to edit and the director to get a stronger control on how it all plays out. An independent set of eyes would have been invaluable there, but I am still impressed with the boldness of the piece.

She Mami Wata & The PxssyWitch Hunt streams on the Soulpepper website until June 30, 2021:

www.soulpepper.ca

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Forgot this important film by Esie Mensah:

https://www.tessel.film/?utm_source=wordfly&utm_medium=email&utm_campaign=What%27sOnJune&utm_content=version_A&sourceNumber=

The Vision

TESSEL is a national initiative conceptualized by Dora-nominated choreographer and dancemaker Esie Mensah (Shades, A Revolution of Love), featuring the stories of 14 pioneering Black artists from across Canada, exploring the complexities of diverse movement and voice as a form of resilience.​

Premiering across the country on the one-year anniversary of Blackout Tuesday (June 1) – a day when organizations worldwide publicly expressed their commitment towards institutional change to support the Black community – lead commissioners and co-executive producers Fall for Dance North and Harbourfront Centre, along with 19 national co-presenters, aim to elevate Black dance artists of diverse genres from across Canada, placing a spotlight on their vital role and purpose in our artistic community. This momentous project is intended to be a journey towards change, and an archive of Canadian Black excellence.

“What began as a 7-hour discussion between 14 Black dance artists from across the country, has been beautifully distilled down into a spiritual calling, a tessellated journey through the cycles of healing. This film has taught me to trust the voice that I have within. As a choreographer, the industry can place limitations on who you are even though the vision you have for yourself is so much greater. I’ve been spending many years doing the work to unveil myself as an artist whose creations can shift across disciplines. TESSEL is a reflection of my artistic work and my commitment to share the stories we need and not the stories we want. I am grateful to have done this with 13 artists that trusted me to bring this vision forward.

The necessity to share our voices and not just our bodies is how we ensure these artists feel heard and seen. You will see each of us dance in our respective styles: together, apart; unapologetically, emotionally, and truthfully. Hear us speak to one another; harmonizing, calling in, and lifting one another. This film is intended to be a journey towards change, an archival of Canadian Black excellence, and a sliver of truth that many have not been privy to. May you watch with an open heart, mind and spirit and allow the journey of TESSEL to wash over you like water.” – Esie Mensah

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Streaming on the Soulpepper Theatre Website: www.soulpepper.ca Until June 30, 2021.

By Guillermo Verdecchia

Freely adapted from Farid Ud-Din Attar’s The Conference of the Birds

Directed by Soheil Parsa

Sound design by Thomas Ryder Payne

Audio producer, Gregory Sinclair

Cast: Raoul Bhaneja

Augusto Bitter

Oliver Dennis

Christef Desir

Liz Peterson

Arsinée Khanjian

Jani Lauzon

John Ng

Beatriz Pizano

Bahareh Yaraghi

The Parliament of the Birds is another splendid addition to Soulpepper’s audio series, Around the World in 80 Plays.

The Parliament of the Birds is based on the 12^th century Persian poem Conference of the Birds by Farid Ud-Din Attar, freely adapted by Guillermo Verdecchia, a Canadian playwright, director, educator, mentor and theatre maker (born in Argentina), and directed by Soheil Parsa, who is Canadian-Iranian, and performed by a truly international cast. Everything about this audio production bursts with life, urgency and cultural references. It is both centuries old and as contemporary as tomorrow.

A group of various birds (Crow, Sparrow, Parrot, Nightingale, Duck, Falcon, Cardinal and Pigeon and others) have come to hear Hoopoe speak. She has an urgent message about their diminishing world.

“We need to talk”, she tells the group. “The world we made is in great trouble. Oceans are sick. The air is poisoned. The clouds are dying. Everywhere I look I see troubles, sorrow, violence, terrible fights over scraps of land, over a handful of grain.”

There are objections to her expressions of truth. Disagreements break out between the birds. Parrot says, “They’re killing my kind, daily.”

Again Hoopoe puts it in perspective: “We can’t go on like this: flock against flock, each against all. We cannot talk without bursting into disagreement.”

Her solution is for the assembled to go on a journey and seek enlightenment and change the way they are. They are seeking wisdom in Simorgh, the king of kings, the leader of birds, or just human enlightenment.

The Parliament of Birds is of course an allegory of our turmoiled world: climate change, racism, war, despotism, intolerance and the search for a better existence. Each bird displays a human fault that should be addressed. Animals or birds etc. as allegories on human behaviour is nothing new: Animal Farm by George Orwell for example.

Guillermo Verdecchia’s bracing, vivid, compelling adaptation of Farid Ud-Din Attar’s original poem beautifully captures the thrust and lunge of the anger that permeates the modern world. There is reluctance of the birds to go on the journey but they accept that something must be done to care for their wounded, angry world. On the journey, animosity turns to consideration, care, selflessness. Revelation results, as does hope.

Soheil Parsa directs his excellent cast with care, sensitivity and a determined fearlessness not to back away from the ugliness of the story. In the end the result is poignant. Jani Lauzon as Hoopoe is impassioned and desperate to convey the message. Christel Desir beautifully expresses Parrot’s consuming anger at being considered “lesser” by Oliver Dennis’ haughty, impatient Crow. Augusto Bitter portrays the meekness of Sparrow while Beatriz Pizano plays a thoughtful, considerate Cardinal. Behareh Yaraghi illuminates Pigeon’s gentleness, with a touch of wisdom.

Thomas Ryder Payne has created a soundscate that suggests the wind, the harshness of the weather, the difficulty of a bird flying and the sounds of a world at war with itself. The Parliament of the Birds gives us a difference lens (from Iran) to view our world.

The Parliament of the Birds streams on the Soulpepper website until June 30, 2021.

www.soulpepper.ca

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Wednesday, June 2, 2021

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‘SHE MAMI WATA & THE PXSSYWITCH HUNT’ PREMIERES THIS WEEK!

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BELIEVING BETTER IS POSSIBLE IS THE FIRST STEP.

We are thrilled to have you join us Around the World in 80 Plays, our eight-week global adventure of audio dramas, in-depth documentaries from CBC Ideas, and cultural highlights celebrating the global ‘canon’. This week we welcome you to Jamaica for the premiere of SHE MAMI WATA & THE PXSSYWITCH HUNT written and performed by London-based dub poet, theatre interventionist & decolonial scholar, d’bi.young anitafrika.– Available to stream beginning this Wednesday, June 2.

Wednesday, June 2, 2021.

MH370 is now boarding!   CLICK HERE TO EXPERIENCE MH370! May 31 to June 15 For the best audio experience, please use headphones. While there is both a mobile and desktop experience, we recommend using a laptop or desktop for the most full-featured version of the installation.      Coordinating remotely with over 40 outstanding artists during the pandemic, fu-GEN Theatre is proud to present the durational, immersive and interactive audio installation MH370. Comprising over 1100 intricately connected pieces, this audio installation is unlike anything fu-GEN has   attempted before. The 7 hour and 40 minute project runs around the clock from May 31 to June 15, allowing listeners to choose their own audio journey among the 227 passengers on board.

“With the circumstances of the pandemic dictating our modes of creation, we wanted a project that was intended to be consumed digitally and at home… while maintaining the unique theatricality that has become emblematic of our experimental work,” says fu-GEN’s Artistic Director David Yee. “MH370 provided us with the opportunity to work with a landmark number of artists from across the country in a way that felt vital and urgent, leveraging the platforms we have available to create together while being, by necessity, apart. This project has been a constant negotiation of new ways to create and deliver artistic content, developing new technology that centers the art and the audience experience, consistently innovating and evolving our artistic practice.”      MH370 is a digital feat that balances theatricality, intimacy and technology, challenging and pushing the boundaries by questioning how theatre persists during a global pandemic. With immersive audio soundscapes and a deceptively simple online apparatus, MH370 examines the experience of loss and erasure as people move between states; whether it be culture, geography, or navigating personal relationships. Audio content is constantly in flux, the same passenger will have different content depending on when you listen during the 7 hour and 40 minute flight time. As each listener will make their own personal choices of who to follow and when, each person’s experience of this installation is exceptionally unique and almost impossible to repeat, invoking the ephemerality of theatre… or a vanishing plane.   CREDITS:   WRITTEN BY: Eva Barrie, Derek Chan, Jeff Ho, April Leung, Coleen MacPherson, Yago Mesquita, Rachel Mutombo, Christina Orjalo, Sepehr Reybod, Jennifer Villaverde, David Yee   FEATURING: Arlen Aguayo-Stewart, Andrea Bang, Myles Botten, Jasmine Chen, Adrian Choong, Emma Ferreira, Vienna Hehir, Cynthia Jimenez-Hicks, Cameron Kneteman, Eponine Lee, Richard Lee, April Leung, Milton Lim, Michael Man, Marina Moreira, Natasha Mumba, Christina Orjalo, Marissa Orjalo, Sepehr Reybod, Jobina Sitoh, Jovanni Sy, Johnny Wu, Lindsay Wu, Conor Wylie, Raugi Yu, Mo Zeighami   WEB APP DEVELOPMENT: Anton Sukhovatkin   SOUND DESIGN: Michelle Bensimon   SOUND ENGINEERING: Anthony Abbatangelo   ART DIRECTION AND GRAPHIC DESIGN: Eric Michael (Super Always)   SOUND TECHNICIAN AND ASSISTANT ENGINEER: Thaddeus Pun

Thursday, June 3, 2021 7:00 pm

Stratford@home

february: a love story

Winter. A date. Outside. He wants commitment. She wants a good time.

I saw it when it streamed before, elsewhere.  It’s wonderful. My review of that previous showing: https://slotkinletter.com/2021/02/review-february-a-love-story

Join us for a Live Viewing Party on Thursday, June 3 at 7pm EDT

He’s looking for feelings, she’s looking for a rebound… To stave off the pandemic blues, two mismatched millennials try their hand at “short-distance dating,” but can they?

Thursday, June 3, 2021. 8:00 pm

Broadway on Demand.

Ohio State Murders

By Adrienne Kennedy

Starring Audra McDonald.

Streaming This June

GET TICKETS

OHIO STATE MURDERS By Adrienne Kennedy Directed by Kenny Leon Starring Audra McDonald, Warner Miller, Lizan Mitchell, Ben Rappaport Date: June 3rd, 2021 at 8:00PM ET Ohio State Murders is an unusual look at the destructiveness of racism in the U.S. When Suzanne Alexander, a fictional African American writer, who returns to Ohio State University to talk about the violence in her writing, a dark mystery unravels. DEAR ELIZABETH By Sarah Ruhl Directed by Kate Whoriskey Starring Meryl Streep and Kevin Kline Date: June 17th, 2021 at 8:00PM ET Based on the compiled letters between poets Robert Lowell and Elizabeth Bishop, Dear Elizabeth maps the relationship of the two poets from first meeting to an abbreviated affair – and the turmoil of their lives in between.

Sunday, June 6, 2021. 6:30 pm

Streamed reading of

1812

By Norm Foster

Foster’s 1812 is this week!

‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌

Two towns. A bridge connecting them and a border dividing them.

When the war of 1812 breaks out, the neighbouring border towns of St. Stephen, New Brunswick and Calais, Maine are reluctant to go to war against each other. The people in each community have built life-long friendships – freely crossing the bridge that connects them for daily visits. Literally overnight, the war quickly redefines their world as they know it and their lives are forever changed. Through humour and Foster’s trademark witty dialogue, 1812 examines the meaning of friendship, love and loyalty.

Join us on Sunday, June 6 for a LIVE streamed reading of Norm Foster’s new play, 1812. And if you can’t catch the reading live, don’t worry, you will have access to the replay for 72 hours.

Reading Start Time 
6:30PM (ET)

The play/reading is in Two Acts, with a 10-minute intermission. Total running time is approximately 2 hours.

An exclusive streaming link will be emailed to you on the morning of Friday, June 4 so you can test the link a day in advance.

PURCHASE ONLINE READING TICKETS >>

Norm Foster talks about his new play, 1812 !

We loved chatting with Norm Foster about his new play, 1812. It was so interesting we had to share it with you, Foster Fans.

Foster Festival Artistic Producer Emily Oriold, and Canadian Playwright Norm Foster, discuss how Norm came up with the idea of 1812, his inspiration for writing this play, and the upcoming LIVE reading. 

Watch this newest episode of five For foster on YouTube.

WATCH THIS FIVE FOR FOSTER EPISODE ON YOUTUBE >>

The sale or other issuance of any ticket is final and non-refundable. An online link will be emailed to you the morning of June 4, 2021. The email will come from admin@fosterfestival.com. Please add the email address to your contacts list to prevent the email from going to your junk/spam folder.

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Arkady Spivak, the Artistic Producer of Talk is Free Theatre in Barrie, Ontario doesn’t seem to be aware that there has been a crippling pandemic for the past 14 months. He creates theatrical initiatives that keep employing and paying actors (what a concept!), that engage audiences and keep the artform alive. His latest scheme is this humdinger:

WORLD PREMIERES AND BOUNDARY-PUSHING NEW WORKS FEATURED IN NEW IN-PERSON FESTIVAL Barrie, ON…. TIFT Artistic Producer Arkady Spivak announced today the programming of The Bees in the Bush Festival, featuring twelve eclectic in-person productions. Running from August 3 to October 3, 2021, all programming will be performed at outdoor locations – using parks, conservation areas, residential backyards and more, for a reduced in-person audience and with observance of current COVID-19 protocols.   The Bees in the Bush will include several productions reconfigured for an outdoors presentation, as well as boundary-pushing new works and a return of TIFT’s hit musical-in-concert in a new setting. Six world premieres will also be produced, including the musically infused cabaret based on a Greek legend; a documentary-style interactive collection of migration stories, created by DopoLavoro Teatrale (DLT); an experimental performance piece created by Simcoe Contemporary Dancers; an intimate but amplified one-person musical discussion; an immersive installation using augmented reality technology; and an explorative piece about one of history’s most divisive figures.   As previously announced, all programming will be free, and subject to TIFT’s booking policy available at www.tift.ca. Talk Is Free Theatre supporters are offered exclusive booking privileges starting on June 15, 2021. Bookings will be open to the general public starting July 5, 2021.  Further Details of the Bees in the Bush Festival programming   August 3-8, 2021, several engagements between 5 and 7pm   I & I World Premiere   Written and dramaturged by Daniele Bartolini and Anahita Dehbonehie with personal stories of newcomer artists   Directed by Daniele Bartolini and Danya Buonastella   A DopoLavoro Teatrale – DLT production   The confrontation of the self of the immigrant before and after leaving their motherland I & I is a poetic, documentary style collection of migration stories, memory treasures and rituals from different cultures where you are invited to get close and personal with a world of newcomers.   Created by Italian born Daniele Bartolini, Italian-Canadian Danya Buonastella and Iranian born Anahita Dehbonehie with a group of newcomer artists, I &I provides an opportunity of encounter for citizens of different cultural backgrounds, shining light on the life experience of newcomers to Canada.   Maximum audience capacity per performance: 4. Performance duration: Approximately 60 minutes Venue: Sunnidale Park, Barrie   August 5-8, 2021 at 6pm   ALPHONSE   Written by Wajdi Mouawad   Translated by Shelley Tepperman   Directed by Alon Nashman   a Theaturtle production, in partnership with Shakespeare in Action   “A Runaway Theatrical Success” – J. Kelly Nestruck, The Globe & Mail   Alphonse is lost, walking along a country road, weaving an intricate web of stories, while everyone is searching for him: parents, friends, teachers, the police. What they find is the thing we often give up in order to grow up.   Maximum audience capacity per performance: 20 Performance duration: 70 minutes Venue: A private residence at 801 Big Bay Point Road, Barrie, outdoors   Aug 11-14, 2021 at 6pm   YOU FANCY YOURSELF   Written and performed by Maja Ardal   Directed by Mary Francis Moore   Designed by Julia Tribe   Maja Ardal returns this summer with You Fancy Yourself, the prequel to last season’s sold-out production of Cure for Everything.   You Fancy Yourself is the story of young Elsa and her attempt to fit into a tough world after immigrating to a new country. Touring for the last 10 years across Canada and through England, the production is acclaimed for portraying the world of childhood with humour and tenderness, in a way that people of all ages can relate to.   Maximum audience capacity per performance: 20 Performance Duration: 60 minutes Venue: The backyard of a private residence, located at 23 Theresa Street, Barrie.     August 16-29, 2021 at 6pm   STUPIDHEAD!   Written and performed by Katherine Cullen & Britta Johnson   Directed by Aaron Willis   An Outside the March Production    “…riotously funny, musically charming, and emotionally resonant… a perfect blend of humour, heart, and soul.” – Kingston Theatre Reviews   A dyslexic backyard musical about not being alone.   This is a show about learning that no matter who you are, you’re not alone. After successful runs at Theatre Passe Muraille in 2017 and Kingston’s Kick & Push Festival in 2019, Talk is Free and Outside the March are teaming up with Cullen, Johnson, director Aaron Willis and designer Anahita Dehbonehie to reimagine that message for our collective isolated purgatory.   Maximum audience capacity per performance: 16 Performance Duration: 90 minutes Venue: The backyard of a private residence, located at 1076 Winnifred Court, Innisfil     Aug 19-22, 2021 at 4pm   INTO THE WOODS in Concert   Book by James Lapine   Music and lyrics by Stephen Sondheim   Directed by Michael Torontow   Music direction by Wayne Gwillim   Choreography by Lori Watson   Set design by Joe Pagnan   Costumes by Laura Delchiaro Sound Design by Josh Doerksen   Featuring Noah Beemer, Aidan deSalaiz, Griffin Hewitt, Richard Lam, Jamie McRoberts and others   “…the star for me is Director Michael Torontow. What he created was a clear reading of the musical that was inventive in its presentation, creative, illuminating and accomplished in realizing Sondheim’s difficult piece.” – Lynn Slotkin, The Slotkin Letter   Nestled whimsically within one of Barrie’s beautiful forest parks, TIFT’s hit production of Into the Woods returns by popular demand in a new outdoor setting for a unique and magical experience.   Enjoy the masterful songs of Stephen Sondheim and become immersed in the fantastical world of these beloved Brothers Grimm characters as they search for their ‘happily ever after’.   Maximum audience capacity per performance: 50 Performance duration: 2.5 hours, including one intermission. Venue: Springwater Provincial Park     August 25-28, 2021 at 6pm   CYCLOPS: A SATYR PLAY World Premiere   Written, directed, and performed by Griffin Hewitt   Original text by Euripides   Original music by Juliette Jones   Assistant direction and dramaturgy by Giovanni Spina   What happens when we allow a debaucherous and morally indifferent goat-man to take hold of one of our oldest stories of good and evil?   Cyclops: A Satyr Play takes Euripides’s only surviving Satyr comedy, and using music, dance, games, good wine, good food, and everything else you need for a good time, engages the audience in a journey to find what makes us truly free.   This production is also part of the Eternal Ego Festival   Maximum audience capacity per performance: 16 Performance Duration: Approximately 60 minutes Venue: The backyard of a private residence, located at 16 Lougheed Road, Barrie     September 1-4, 2021 at 7:30pm   RASPUTIN ON A DATE World Premiere   Written by and starring Brendan Chandler   Dramaturged and Directed by Maja Ardal   This new short play explores aspects that surround the legend of Rasputin, the historical figure whose life and actions are shrouded by rumour and hearsay. Was Rasputin wicked, was he good or was he neither? A divisive character in Russian history, Rasputin gained considerable influence with Tsar Nicholas II and their relationship is one of mystery and allegation.  Set in the afterlife, witness the story of Rasputin and Tzar Nicholas II as they meet for a date.   Maximum audience capacity per performance: 25 Performance Duration: Approximately 30 minutes Venue: The Beth Foster Floating Auditorium Located between Southshore Centre and Minet’s Point     September 8-11, 2021 at 6pm   I SEE THE CRIMSON WAVE   Written and directed by, and starring Roy Lewis   Creative Adviser Marti Maraden   “Roy Lewis instills so much joy in the telling, makes the words sound delicious and makes us fall in love with the beguiling Nat Love.” – Lynn Slotkin, The Slotkin Letter   Poet, actor, storyteller, Roy Lewis takes us on a cattle drive with legendary African American cowboy and raconteur Nat Love. Join Roy as we explore together this forgotten history of the late 19th century, from the end of American Civil War, the freeing the African Slaves, the expansion of the Railroad and the killing of the buffalo. This is an impressionistic vision in prose song and poetry. I See The Crimson Wave is a vivid reimagining of the old west which comes to life in the captivating persona of Roy Lewis.   Maximum audience capacity per performance: 14 Performance Duration: 55 minutes Venue: The backyard of a private residence, located at 59 Shanty Bay Road, Barrie     September 10-12 and 26 2021, various times   IN THE TIME BEFORE THE IMMEDIATE PRESENT AND THE TIME TO IMMEDIATELY FOLLOW V2 World Premiere   Process Facilitator Sarah Lochhead   Performers/Collaborators Jaqui Brown, Casey-lee Cooper, and Eligh Zimmerman of Simcoe Contemporary Dancers   Creative Technologist Max Lupo   Music/Sound The Base – Rich Aucoin, Remixed sound samples of The Base – Rich Aucoin Source files courtesy of Aucoin   A Simcoe Contemporary Dancers production   What happens when our live experience of performing and witnessing are mediated by technology while simultaneously dependent on our presence in the shared physical space? You are invited to be part of a performance experiment. Your presence in the space determines the sequence of events. A solo performer responds in real time to the sound cues activated by your location as read by a 360 radar. The dancer’s movements are in turn interpreted by a device that will activate a signal inviting you to find a new spot in the space — creating the next sequence of events.   Maximum audience capacity per performance: 6 Performance Duration: 25 minutes Venue: MacLaren Arts Centre Courtyard, located at 37 Mulcaster St, Barrie.     September 15-18, 2021 at 9pm   MAHAGONNY-SONGSPIEL   Written by Kurt Weill and Bertolt Brecht   Libretti by Bertolt Brecht   Musical Composition by Kurt Weill   Directed by Richard Ouzounian   Based on Mahagonny Songs, a series of five poems written by Brecht, Mahagonny-Songspiel is a small-scale scenic cantata, created by two of the 20th century’s most accomplished and versatile creative minds. This ground-breaking collection of songs set in motion the long running relationship between Weill and Brecht whose collaborations would take Germany and the world by storm.    Maximum audience capacity per performance: 25 Performance Duration: 30 minutes Venue: The amphitheatre behind the Southshore Community Centre, located at 205 Lakeshore Dr, Barrie     September 22-25, 2021 at 8pm   TORONTOW{AFTER DARK} World Premiere   Conceived by and starring Michael Torontow   Michael Torontow loves a good post-show talkback. You know, that rare opportunity after a performance when artists share secrets about the show, the process, and themselves.   Torontow {After Dark} is this intimate gathering but amplified, when Michael–director of TIFT’s Into The Woods and leading actor in The Curious Voyage, Every Brilliant Thing, The Music Man, Candide and Floyd Collins—invites you in to relax, hear some stories, some great music, and indulge your curiosity.   Maximum audience capacity per performance:16 Performance Duration: Approximately 60 minutes Venue: Five Points Theatre, located at 1 Dunlop Street West, Barrie     October 1-3, 2021 at   WHAT SHE BURNED World Premiere   Based on the folklore written by Alexander Afanasyev   Created and Artistically Led by Joe Pagnan   Movement Directed by Clarke Blair   Composition by Richard Lam   Narrated by Glynis Ranney   Walk into the woods to retrace steps taken by a heroine of Russian folktales. Find out What She Burned this fall in an immersive installation using mid-century bootlegging techniques fused with modern augmented-reality technology. Inspired by a children’s story about a young woman facing an evil witch in the woods, this piece has dark elements and is experienced in intimate groups no more than four.   Maximum audience capacity per performance: 2 per viewing. Multiple viewings are available throughout the day of the performance. Running time: 30 Minutes Venue: Location in Barrie to be announced at a later date. Details: www.tift.ca

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Times are desperate for the arts in Ontario. Please help to change that.

Advocacy: Join the Campaign for Fairness for Ontario Arts

In the coming days and weeks, Ontario senior officials will meet to determine the specific regulatory details of the Roadmap to Reopen which was announced on May 20, including the offices of Chief Medical Officer Dr. David Williams, Ministers and Deputy Ministers, and public health officials.

Presently, this three-step plan does not give Ontario performing arts organizations the ability to prepare for re-opening, prohibits the safe capture of digital content, and does not reflect regulatory fairness with other peer industries. 

By intent or oversight, the Ontario government is, indisputably, keeping performing arts venues in the Stay-at-Home order until July.

It is our understanding that the decisions made over the next few days will be locked in until the end of the summer and – as critically – sets precedents for our fall/winter seasons. Our ability to reopen outdoors this summer, generate digital content and ensure a timely Fall reopening is directly contingent on these closed-door conversations.

It is imperative that we make our voice heard as an industry and that we rally arts lovers across Ontario to demand regulatory fairness now.

On May 26th, you were invited to co-sign a letter that was sent to Premier Ford, Minister of Heritage, Sport, Tourism and Culture Industries Lisa MacLeod, Minister of Health Christine Elliott and Chief Medical Officer of Health Dr. David Williams. In the last few days, efforts to elicit a response and changes have been unsuccessful. 

The time is now for all Ontario performing arts organizations, artists, employees and audiences to act in unison. On Monday, May 31 we are launching a public campaign: Campaign for Fairness for Ontario Arts (#FairnessForArtsON) including letter-writing, social media swells, and extensive media coverage. The urgency in in timing is to ask you to please send on Monday, May 31. Ontario is home to the country’s highest concentration of performing arts workers and many millions of arts audiences. Let’s make some noise.

In preparation for this day, we ask you to help with three-time sensitive initiatives. We also ask you not to undertake any of them until Monday, May 31:

1. Go to https://canadianlivemusic.ca/fairnessforartson/ on Monday, May 31 to send letters to the Premier, Ministers, MPPs, municipal leaders and representatives from you and your staff.   Enter your name and postal code, and the site will automatically send your message (using pre-generated text) to your local representatives.
2. Create a social media post (Facebook, Twitter, Instagram) to launch MONDAY May 31 using the hashtag #FairnessForArtsON
   
   Click here to download the #FairnessForArtsON wordmark image to include with your post .
   
   Click here for customizable text for your post.
3. Prepare an email to send to your database of audience members on MONDAY May 31 asking them to participate in our campaign that day.
   
   Click here for a sample email to send to your patrons including a link to customizable social media text for them to use as well as the #FairnessForArtsON wordmark image.

Time is of the essence. Our experience over the last year has demonstrated that the arts have been left behind by this government again and again, with other industries receiving preferential treatment. Monday is the moment to make our voices heard. 

Thank you all for your engagement and participation.

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Filmed in the Ballroom of St. Lawrence Hall.

By George Frideric Handel

Libretto by Carlo Sigismondo Capece

Conducted by David Fallis

Directed by Marshall Pynkoski

Choreography by Jeannette Lajeunesse Zingg

Set and art director, Gerard Gauci

Film director and editor, Marcel Canzona

Audio production by Matthew Antal

Head of wardrobe/designer, Michael Legouffe

Cast: Colin Ainsworth

Carla Huhtanen

Meghan Lindsay

Allyson McHardy

Douglas Williams

Plus the artists of Atelier Ballet

And the musicians of Tafelmusik

Note: As with any opera I am not ‘reviewing’ the singing or dancing of The Resurrection because they have a different vocabulary that I would not presume to comment on with any justice.  I will be commenting on the theatricality of the piece. Also consider this as an appreciation of the artistic gifts of director Marshall Pynkoski and choreographer Jeannette Lajeunesse Zingg and their creation.

The debut of The Resurrection, (La Resurrezione) Handel’s liturgical opera in Rome in 1708, and Opera Atelier’s debut of the film this past week in 2021 are echoes of each other.

In 1708 in Rome, due to papal restrictions during Lent, Handel was forced to move his production to Palazzo Ruspoli in the main hall (the Marchese Ruspoli was Handel’s patron).

In 2021 in Toronto, due to COVID-19 restrictions, Opera Atelier was forced to move their production of The Resurrection out of the theatre and into the ballroom of St. Lawrence Hall and film it following safety protocols.   

The Story. The story takes place between Good Friday when Christ was crucified and Easter Sunday, the Resurrection of Christ. It is the story of good vs evil, faith vs despair. Lucifer (Douglas Williams) rages that he fell from heaven to hell and takes credit for Christ’s death. He is challenged by an Angel (Carla Huhtanen) who is as determined as Lucifer to thwart his intention to spread havoc on earth. In the meantime Mary Magdalene (Meghan Linsday)  and Cleophas (Allyson McHardy), who both loved Christ, lament and mourn his death, until St. John the Evangelist (Colin Ainsworth) announces that Christ will rise again in three days.

The Production. As always with an Opera Atelier production, The Resurrection shimmers with elegance, detail, artistry and beauty.  Director Marshall Pynkoski, choreographer, Jeannette Lajeunesse Zingg and their design team have created the scope of the world of Handel’s opera with the simplest of furnishings. Gerard Gauci has created a stair formation with an imposing gold bird on the front to provide a place of power for both the Angel and Lucifer. A sumptuous curtain of folds covers the tomb where Christ lay—St. John touches it delicately in reverence. Light illuminates the space both subtly and obviously. In many scenes we can see the hazy light beaming head on and in other scenes the illumination is from the sides.

A quibble is that while watching this digitally, the lighting is a bit too dark in some moments to make out what is actually happening, but these moments are few—still it is the difference between being ‘in the room’ with the production, and watching it electronically.  

In a nod to the safety precautions the dancers stream on in billowing white gowns for the women, white tights for the men and all of them wear matching facemasks in white. Later to suggest the joy and celebration of Christ’s resurrection the dancers wave huge swaths of powder blue billowing material again, wearing facemasks in the same blue.  

Even if a viewer is not familiar with the ballet of the period, choreographer, Jeannette Lajeunesse Zingg makes one note the stance, arm placement and formality of the dancing.

Marcel Canzona’s filming of the event captures the sweep, grandeur and emotion of the piece. There are wonderful aerial shots of the ensemble as well as filming them face on. It was interesting to note that Lucifer was filmed often from below so that he looked more imposing and dangerous.

Comment. A detailed program of information is available on line, as is the libretto and the translation. Opera Atelier thinks of everything to give the viewing audience the best experience. Marshall Pynkoski and Jeannette Lajeunesse Zingg, co-artistic directors of Opera Atelier, have the guts of a bandit. They have seen COVID-19 dash their plans for a dazzling celebration of their 35^th season, 2020-21. Instead of doing two operas they adapted and created a varied program entitled Something Rich & Strange (available for streaming until June 10, details at operaatelier.com). When they were ready to take The Resurrection into Koerner Hall for rehearsals, they lost the theatre because of COVID-19 restriction. Again, they adapted and filmed the production. Their drive, tenacity and determination to bring art and beauty to their growing audiences is impressive—the guts of a bandit.

The Resurrection is available for viewing until June 10.

https://www.operaatelier.com/season-and-tickets/2020-2021-season/handel-the-resurrection-opera-atelier

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Soulpepper Theatre in association with Why Not Theatre,

Part of  Around the World in 80 Plays.

Streaming until June 30, 2021

Written by Girish Karnad

Directed by Miriam Fernandes

Sound designer, Debashis Sinha

Cast: Nadine Bhabha

Sehar Bhojani

Sharada Eswar

Sarena Parmar

Ellora Patnaik

Nadeem Phillip

Anand Rajaram

Navtej Sandhu

Ravi Jain

The inclusion of Hayavadana (Horseface) by Girish Karnad takes us to India in Soulpepper Theater Company’s series Around the World in 80 Plays. The play was first done in India in 1972.

A group of actors are preparing to rehearse a play. An actor rushes into the rehearsal room with an incredible story. On her way to the rehearsal, she heard a male voice addressing her firmly. She didn’t see anyone but horseface on a man’s body. The horseface, Hayavadana by name,   was the one speaking. The story was that a young woman was supposed to marry a man of her family’s choosing and when the man arrived, on a majestic horse, she fell in love with the horse. Love has transformative powers is one theme of this play.

The play being rehearsed also carries on this theme of transformative identity: who are we really; who is our real self; what is happiness; what is friendship, loyalty, love? Two men are the best of friends though they are so different. Devadatta (Ravi Jain) is an intellectual, a poet, sensitive, and from a privileged family. Kapila (Anand Rajaram) is a gauche, fun-loving, energetic, athletic man who grabs at life and would do anything for his friend. Devadatta has seen a beautiful, young woman but can’t remember her address on the street where she lives and sends Kapila to find out. He is successful (there is all manner of Indian tradition of addressing the woman and finding out her name, that is fascinating). Her name is Padmini (Nadine Bhabha) and she is fascinated about who is enquiring about her and why. The result is that she marries Devadatta. But because Kapila is always there, the three lives become intertwined. Matters become intense. Identities become muddled (I’m not giving away any spoilers here and there are plenty). A question is: “Who are we really?” “What is our identity-our head or our body?”

Director Miriam Fernandes has assembled an ensemble of terrific actors of South Asian decent lead by Ravi Jain, who plays the confident, sensitive Devadatta, Anand Rajaram as the emotional, rousing Kapila and Nadine Bhabha as Padmini who is the most prescient of the three, smart, perceptive and wise. Fernandes has directed these gifted actors to realize the emotion, confliction, confusion and startling details of what is going on in their world. The always inventive Debashis Sinha has provided a soundscape of Indian music, instrumentation and sound that puts us in that world.

Girish Karnad’s writing is vivid, thoughtful and cheeky. He has a sly joke about theatre critics that I’m sure everybody will cite and well they should. At the end there is a speech that is applicable anywhere. The narrator says this: “…come now, it’s time we prayed and thanked the Lord, having ensured the completion and success of our play. Grant us, oh Lord, good rains, good crop, prosperity in poetry, science, industry and other affairs. Give the rulers of our country success in all endeavors and along with it, a little bit of sense.” (‘ahmen’—that’s just me speaking.)  

Hayavadana is both mystic and mythic, epic and intimate. It cites Indian folklore, ‘gods’, traditions, beliefs and philosophy. Such epic works as Shakuntalā by Kālidāsa are referenced for context by ‘ordinary’ characters steeped in that literature and world. For many familiar with Western world literature Hayavadana might appear ‘exotic’ because its references and themes are so different from our own dramatic literature. To describe the play in ‘western terms’ as ‘fantastical’ is to do the play a disservice by trying to force it into our own means of interpretation, rather than taking it on its own terms as part of Indian dramatic literature.    

The story is complicated and dense. Reference names with which we are not generally familiar fly through the air. All this can overwhelm the listener. Don’t let it. Listen, engage, enjoy, embrace this dazzling play.  

Streams on the Soulpepper website until June 30, 2021:

www.soulpepper.ca

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Wednesday, May 26, 2021.

Soulpepper’s audio production:

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WELCOME TO IRAN: THE PARLIAMENT OF THE BIRDS

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BELIEVING BETTER IS POSSIBLE IS THE FIRST STEP.

We are thrilled to have you join us Around the World in 80 Plays, our eight-week global adventure of audio dramas, in-depth documentaries from CBC Ideas, and cultural highlights celebrating the global ‘canon’. This week we welcome you to IRAN for the World Premiere of THE PARLIAMENT OF THE BIRDS by Guillermo Verdecchia. Freely adapted from Farid Ud-Din Attar’s The Conference of the Birds – Available to stream beginning this Wednesday, May 26.

Thursday, May 27, 2021, 7:30

The Resurrection

Opera Atelier

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Handel The Resurrection

Premieres May 27, 2021
CANADIAN FILM PREMIERE
Tickets available for purchase until June 10, 2021

Handel’s astonishing theatricality turns the story of The Resurrection into an operatic tour-de-force. The Resurrection details the events between Good Friday and Easter Sunday, with the timeless forces of darkness and light operating in the earthly and celestial spheres.

BUY TICKETS

LIBRETTO & TRANSLATION

HOUSE PROGRAM BOOK

‍FEATURING

Colin AINSWORTH, Carla HUHTANEN, Meghan LINDSAY, Allyson MCHARDY, and Douglas WILLIAMS. With Artists of Atelier Ballet and musicians from Tafelmusik (Elisa CITTERIO, Music Director)

Conductor: David FALLIS
Stage Director: Marshall PYNKOSKI
Choreographer: Jeannette Lajeunesse ZINGG
Set Designer/Art Director: Gerard GAUCIFilm Director/Editor/Director of Photography: Marcel CANZONA
Costume Designer: Michael LEGOUFFE

Audio recorded in Koerner Hall, Telus Centre for Performance and Learning
Production filmed in the Ballroom of St. Lawrence Hall
‍
Production underwriter: Vivian Elizabeth Pilar

The dedication of Opera Atelier’s production of Handel’s The Resurrection in memory of Patricia Barretto
(1974-2020) has been made possible by generous donations from Michael Wekerle and an Anonymous Donor.

With sincere gratitude, we salute our Anonymous Donor for graciously providing the funding to support the rehearsal process for Handel’s The Resurrection.

Premieres Thursday, May 27, 2021

7:00PM ET

Thursday, May 27, 2021

The Niceties

From Manhattan Theatre Club

MTC IN ASSOCIATION WITH THE HUNTINGTON PRESENTS THE NICETIES, MAY 27-JUNE 13

Manhattan Theatre Club in association with The Huntington presents the virtual premiere of The Niceties, written by Eleanor Burgess and directed by Kimberly Senior. The presentation reunites the original stars Lisa Banes and Jordan Boatman, and has been reimagined for the virtual stage since its original production in MTC’s 2018-2019 season at The Studio at Stage II. 

An ambitious, young Black college student and her esteemed white professor meet over Skype to discuss a paper the college junior is writing about the American Revolution. Unfortunately, they find it hard to agree about the facts of the past—or the present. Discussions of grammar and Google turn to race and reputation, and soon they’re in dangerous territory neither of them had foreseen—and facing stunning implications that can’t be undone. The New York Times hails it as “a bristling, provocative debate play about race and privilege in the United States.”

The Niceties is presented by arrangement with Concord Theatricals on behalf of Samuel French, Inc. www.concordtheatricals.com

Streaming May 27 through June 13.
FREE. RSVP required.

RSVP TODAY

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