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The following reviews were broadcast on Friday, Oct. 25, 2013 CIUT FRIDAY MORNING, 89.5 FM Savage in Limbo at the Downstage Theatre until Nov. 3 and Farther West at the Young Centre for the Performing Arts until November 9.

The guest host was Phil Taylor.

(PHIL)

Good Friday morning of this very important fund-raising week for CIUT. It’s time for our theatre fix with Lynn Slotkin our theatre critic and passionate playgoer.

Hi Lynn

 (LYNN)

Hi Phil

 (PHIL)

What’s up for this week?

 (LYNN)

Before I get to reviewing this week’s two shows, let me add my voice to urge our audience to donate to CIUT, radio that matters. No other radio station programs what we do here which makes CIUT even more important and invaluable.

 While arts coverage is dwindling in other media, at CIUT FRIDAY MORNING our arts coverage is expanding. We have interviewed artists who make a difference. And reviewed shows by established companies, but more often than not, focused on companies that are small, just staring out and feisty, just like the companies I’m reviewing today.

 We are a registered non-profit charitable organization that receives little funding, which makes the donations of our loyal audience vital. Donate now by calling either 416-946-7800 or 1-888-204-8976.

 Your donations let me do what I love doing more than eating chocolate, and that’s review plays on CIUT FRIDAY MORNING and pass on my enthusiasm for theatre.  Phil let’s get to it.

 (PHIL)

1) Ok, what are you covering this morning?

 (LYNN)

Two show, first Savage in Limbo by John Patrick Shanley and then Farther West by John Murrell.

 (PHIL)

2) What’s Savage in Limbo about?

 (LYNN)

John Patrick Shanley wrote Savage in Limbo in 1984. It was his third play.  Since then he has written 22 more plays (Doubt), plus screenplays (Moonstruck), and won everything from an Academy Award to the Pulitzer Prize to the Tony Award.

 The cheeky press release begins: “…a virgin, a failed nun and an over-ripe Italian girl walk into a bar…..”

This seedy bar in the Bronx is a haven for losers.  Murk is the sullen bartender who wants people to either drink or leave. He has a soft spot for April, our failed nun but a very successful alcoholic. She sits at the bar in an alcoholic haze lamenting her life.  Denise Savage is the virgin in limbo. She says she would love to move on with her life; have a relationship; sleep with a man but can’t because she has to take care of her housebound mother.

 Linda Rotunda is the over-ripe Italian. She’s a brash, spandex-wearing, tough-broad who has slept around, left her boy friend, and suggests to Denise that they become friends—they actually went to school together—and after that, share an apartment. Tony Aronica is Linda’s wayward boyfriend. They are all losers in life, love, jobs and hope. They rage; they accuse; they challenge; they are unrelenting and dangerous in an endearing kind of way and they are all appealing.

 (PHIL)

3) What makes them so appealing?

(LYNN)

Shanley knows how to reveal the rawness of characters; to show them at their most brash, vulgar, hilarious, vulnerable selves. It’s a comedy with serious overtones.

His wit is quick; the situations are funny and serious and Shanley can float a laugh out of all this anger like nobody. They come from the Bronx. He knows those people because he used to be one of them. 

The characters explode onto the space in their own ways, all corralled by director Sarah Kitz. As Murk the barkeep, Tim Walker is still with a stare that is compelling. You don’t mess with this guy.

 Director Sarah Kitz knows how to keep characters moving to create the sense of unease and pent up energy.

 Linda Rotunda, beautifully played by Melissa D’Agostino and Tony Aronica, played by a smoldering Nick Abraham are always prowling and circling each other, like animals ready to pounce. Linda is packed into her spandex pants and tight top ready to jump the bones of her boyfriend, or challenge anyone else.

 As Denise Savage, Diana Bentley is buttoned up, repressed, fearful, funny and touching as the virgin living a life of longing and frustration.

 And as April, Caitlin Driscoll is dead-eyed, in an alcoholic haze; slow moving and riveting.

 I love everything about this one. It’s produced by a brave new company called Bob Kills Theatre Company; Melissa D’Agostino and Diana Bentley are the ones who created the company. It’s being produced in a new space called the Downstage Theatre, downstairs from the Magic Oven restaurant—so you can have dinner upstairs and see a play downstairs.

 And all these actors are people to watch and make note of.  Savage in Limbo is well worth seeing.

 (PHIL)

4) And tell us about Farther West.

(LYNN)

It’s produced by the established Soulpepper Theatre Company.

 Blind obsession is at the heart of Farther West, John Murrell’s 1982 hugely theatrical play. It’s 1886 in Ontario. May Buchanan became a prostitute when she was 14. She now runs a brothel. And together with her three co-workers, Violet, Lily and Nettie, they keep their customers happy, in a fashion.

 But May is restless. She is always searching for a place with no rules where no one has ties to her. She was told by her father early in her life to go ‘farther west’ to find what she wanted. And over the course of the play, she moves farther west across Canada looking for that lawless place.

 As for the obsessions…There is Seward, a police officer who stalks May in order to arrest her for her sordid life style. Eventually he is thrown off the force for his zealousness. But even then he stalks her across the country to purify her of her sins—he’s a religious fanatic.

 Then there is Thomas Shepherd, a customer who wants to take May away from that life and marry her and keep her on his farm.That lasts a year until she takes off. She gets to the edge of the country, to Vancouver, and goes farther west still.

 (PHIL)

5) What makes the play so theatrical?

 (LYNN)

The emotions and the obsessions of these men to

possess May are huge. The sweep the of the play that always goes farther west creates a momentum. And Murrell’s dialogue and speeches have size. They are almost operatic in nature.We are swept along like a relentless tsunami. All the men want to reform May, or possess her; or idealize her. She just wants to be left alone in a place with no rules.

 (PHIL)

6) Is that theatricality carried over into the production?

 (LYNN)

Yes. It’s directed by Diana Leblanc, a terrific director. She puts us right in that raw world as soon as we get into the theatre. Two naked people are asleep on the stage. A large man and a slim woman. It’s May and one of her customers. They shift. He flops an arm over her.

She gets up and wanders around the stage, naked. Shocking at first, but then we get used to it and see past the skin to the person.As May, Tara Nicodemo has that feisty confidence of a woman who manoeuvres in a dangerous world with smarts and seduction. Her voice is almost flat which shows May’s frustration, her lack of enthusiasm for anything, but her resolve to move forward.

 There is a scene at the very beginning, as she looks out in the distance, sitting naked, with her naked customer sleeping behind her, that says everything about her life. The look is wistful, calm, thoughtful with a twinge of longing.

 May’s rough world is beautifully created by designer Astrid Janson with a background that is large and dark. The set has one raked section and a section with water for May’s final move farther west. It is simple and effective.

 (PHIL)

7) How do the men do?

(LYNN)

You certainly get a sense of their attraction to her, their obsession with her. As Seward, Dan Lett is relentless and leering. And by the time her follows her to Vancouver, he’s crazed. It’s a performance full of danger.

 As Thomas Shepherd, Matthew MacFadzean has moments of tenderness and bullying possession. Evan Buliung plays Hanks, a very proper Englishman who wants to take May for walks and show her the finer things in life. He’s quietly sweet. And as gripped as the men are by May, she is loved by her three women friends who show a fierce loyalty to her.

 At times I find the play overbearing with its relentlessness to the inevitable conclusion, but the production is always compelling and arresting.

\(PHIL)

Thanks Lynn. That’s Lynn Slotkin, our theatre critic and passionate playgoer. You can read Lynn’s blog at www.slotkinletter.com

Savage in Limbo plays at the Downstage Theatre, 798   Danforth Ave. (Downstairs from the Magic Oven Restaurant) until November 3,

www.thedownstage.com

 Farther West plays at the Young Centre for the Performing Arts until November 9.

www.soulpepper.ca

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Bone Cage

At Hart House Theatre, Toronto. Written by Catherine Banks. Directed by Matt White. Set designed by Elizabeth Kantor. Costumes designed by Ming Wong. Lighting by David DeGrow. Starring:  Nathan Bitton, Layne Coleman, Samantha Coyle, Jennie Egerdie,  Lindsey Middleton, Kyle Purcell, Tim Walker.

Plays at Hart House Theatre until Oct. 5.

Playwright Catherine Banks won the 2008 Governor General’s Literary Award for Drama for Bone Cage. It’s a gripping, compelling play about people trapped in their jobs, relationships and lives. They hope and dream of a better life but are thwarted by circumstances, society, lack of opportunity and despair.

We are in rural Nova   Scotia. Jamie has just come off his night shift as a tree processor—a job in which he strips trees bare for the chain saw, mulching etc. He delicately holds a  dead bird that has died because of him. The tree processing machine destroys everything on and in the tree, including nests, birds, eggs etc. He laments what he does for a living but needs the money. He’s getting married in a few days to Krista, his high school sweetheart. He hears that his boss is planning on demoting him to ‘chain saw’ which pays much less. He tries to enquire about a job in BC but lacks the schooling. He is desperate to leave but knows his fiancée won’t agree. His prospects are looking bleak.

His father Clarence, has never praised him; devoting himself to the memory of a son who died when he was a young boy. In fact Clarence believes in cryogenics and hopes to get some of his dead son’s DNA and combine it with a fertile egg to resurrect the kid. This is the world that Jamie lives in. Krista is focused on the wedding and not to what they will do after that. His sister Chicky pines for her married lover.

Playwright Catherine Banks paints a world for these characters that is very narrow, bleak and soul crushing. She is not afraid to go to the dark side of a story, But her writing is vivid, poetic and very funny when you least expect it. Rather than distance us from her story, she draws us in. It might not be a story that we have experienced, but she does make us understand and feel for these lost, characters.

The production is also one of the strongest I’ve seen in years at Hart House Theatre. Director Matt White has realized Banks’ world through the evocative set by Elizabeth Kantor of a bridge and a tangle of twigs and branches underneath it—the effects of Jamie’s destruction with his tree processor.

As Jamie, Nathan Bitton has the angular, boyish body language of a man who is both rough and rousing but also sensitive in his quieter moments, after a shift, looking at the destruction he has brought. And Bitton makes you heart sore for Jamie’s dilemma—wanting to leave but having no place to go or prospects ‘out there.’ As Clarence, Layne Coleman has the energy of a man possessed by a ridiculous thought—to bring back his dead boy to life. Coleman shows a man definitely on the edge of sanity. As Chicky, Samantha Coyle is confident but with the desperation of a woman who loves a man who isn’t free. She is a jangle of frustration and her frustration is obvious when she quietly rages.

White establishes relationships well but I have one quibble. He begins the show with a rousing number in a bar. The bar folk including Jamie are there line dancing of sorts. The problem is that after that Jamie leaves the bar to go to the bridge above the town to sit alone, caressing a dead bird. That sober scene with the bird is actually the beginning of Banks’ play. To begin the play with the dancing number sets the wrong tone and confuses the audience. We never see that kind of abandon again in the play. That is the only miss-step in White’s fine production.

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The following reviews were broadcast on Friday, September 13, 2013. CIUT FRIDAY MORNING, 89.5 FM ENCHANTED APRIL at the Shaw Festival, Festival Theatre until October 26 and STROLLING PLAYER at the Red Sandcastle Theatre at 922 Queen Street East just east of Logan. It plays until September 22.

 The guest host was Phil Taylor.

 (PHIL)

Good Friday morning, it’s time for our theatre fix with Lynn Slotkin, our theatre critic and Passionate Playgoer.

 Hi Lynn

 (LYNN)

Hi Phil

 (PHIL)

1) What do you have for us today?

 (LYNN)

Two plays about following your dreams in a sense. First Enchanted April at the Shaw Festival written by Matthew Barber. About four strangers who were invited to follow their dreams and spend a month in Italy, away from their husbands and families.

 And Strolling Player a one man play, by Richard Sheridan Willis and Heidi Reimer. Willis also stars in it, which seems logical since the show is autobiographical.

 (PHIL)

2) Let’s start with Enchanted April. I assume it’s also based on the film?

 (LYNN)

It is and I never saw it. But the production is so beautiful to look at and exquisitely done that I will rent the film and read the book.

As I said, it’s about following your dreams. Lotty Wilton is in a depressing rut. She’s always wanted to go to Italy for a vacation but her stodgy husband won’t go.

She sees an ad for such a vacation, at a villa no less, and decides to bring others on board because she can’t pay for the whole thing herself. She sees her prickly, sullen neighbour, Rose Arnott, in a tea room and suggests the trip. Rose is glum and says no. But when her successful novelist husband has to go on a book tour Rose relents.

This is soon followed by Caroline Bramble, an upper class glamour girl, and Mrs. Graves who is just like her last name. She is finicky; wants her tea precisely at the same hour and God help you if it isn’t, and she too relents. They all go to this villa in Italy. Slowly those who are uptight begin to loosen. Those who are precise begin to ease up. There are surprises along the way. It’s Italy. It’s sunshine, it’s all those cappuccinos.

 (PHIL)

3) How does it fit into the Shaw Mandate?

 (LYNN)

The book was written in 1922—during the time of Shaw– by Elizabeth von Arnim, a woman who travelled in grand company; her children’s tutors were Hugh Walpole and E.M. Forster. H.G. Wells was one of her lovers.

Matthew Barber adapted the book in about 2000. And the play is set in 1922. The British people are still mired in post-war malaise. And women, certainly exemplified by these four, have their issues with husbands who are too busy to notice them; women going through serious emotional difficulties; and women seeing a way of life passing them by. Their transformation is one of the joys of the story and the production. 

(PHIL)

4) Tell us about that production.

(LYNN)

It’s directed with style and a beautiful sense of surprise by Jackie Maxwell. It’s not sloppy sentiment. There’s edge to the production, but through resolve and wonderful good nature, the characters come through.

It’s designed by William Schmuck. The London scenes are drab, in dark browns and greys. Lotty Wilton is always talking about the wisteria and sunshine in Italy, so we are primed with anticipation for what that Italian villa looks like. And in a slow curtain up for Act II we get a good look. I’d recommend this production just for that revealing. You look at that set and you think you should have brought sun screen cream.

The acting is terrific with Lotty being played by Moya O’Connell. Usually Ms O’Connell plays arch, sophisticated women with a past, or a dark secret.  Here Lotty is buoyed up with her own bravery, to book the trip and get three other strangers to go in with her—she is that anxious to get out of her drudge rut. It’s a smiling, winning, joyous performance.

As Rose, Tara Rosling is almost ground down with despair over a sad secret Rose harbours.  But she too finds a way to get her happiness and life back; the revelation of her deeper imp is charming.

As Mrs. Graves, Donna Belleville imbues her with a stiff upper lip, back bone and an almost constant look of disdain.  She doesn’t fit in to that easy life at the villa, but eventually learns that you have to loosen up and play the game. When she learns that secret, it’s all go.

As the upper class, cold-hearted Caroline Bramble, Marla McLean is also playing a brittle, care-less woman who too gets her zest for life back.

Special mention must be made of Sharry Flett as Costanza. Costanza is the house keeper for the villa. She cooks, scurry’s everywhere, and takes care of the place and really has her knives out for Mrs. Graves and Mrs. Graves is none too pleased with Costanza either. Flett does it all with style, wit and does it totally in Italian and you know exactly what she means even if you don’t know your ‘pronto’ from your ‘prego’.

It’s a wonderful performance, and a wonderful production too. It makes me want to read the book and rent the film.

(PHIL)

5) And now for Strolling Player. What is it about?

(LYNN)

It’s a biographical play written by Richard Sheridan Willis and Heidi Reimer. It’s about Willis’s long career as an actor, his stories, adventures and finally settling down, in Toronto of all places.

Mr. Willis was born in Stratford-upon-Avon on purpose. His parents were actors so what better place to give birth than Shakespeare’s home town.

Willis trained at the Royal Academy of Dramatic Art in London, England. He’s played all over England including the West End where I think I saw him at the Haymarket Theatre; performed Shakespeare in Washington D.C, Virginia and across the country; and even played the White House during George W. Bush’s days.

There are stories of his marriage breaking up just as he was in a starry West End production and the press started hounding him for a statement, usually by calling him in his dressing room just before a performance. There is the story of playing to President George W. Bush and his wife Laura; the bravery of a young actor just starting out, who will learn better when he’s older. There are relationships that come and go and one that sticks.

(PHIL)

6) How is it presented since it is a one person play?

(LYNN)

It’s at the Red Sandcastle Theatre on Queen East. I love this store-front theatre. Seats are in tight rows on risers. Your can see the stage clearly. As for the play, there’s a simple bench, a chair, the floor that looks like a kind of beach and the sound of waves flapping against the shore.

Richard Sheridan Willis enters wearing a casual off white shirt and jacket, white pants rolled up to the mid calf,  with a huge hole in the knee the size of his kneecap. He’s barefoot, perhaps all symbolic of the itinerant life of an actor.

 He intersperses his bits of autobiography by quoting considerably from Shakespeare: Henry V, As You Like It, Hamlet, Much Ado About Nothing. The references move the story along and show a wonderful perception.

Mr. Willis can size up a relationship and know that to continue is dangerous because it’s not the right time. But he’s aware of the wonderful feeling he’s experiencing being in a certain young woman’s company.

Willis is perceptive, sensitive, has a lovely grasp of Shakespeare, and has a sweet charm.

 It’s directed with efficiency by Robert Richmond. There is a good use of music, and perhaps too many lighting cues, but on the whole, it’s a moving story of a man devoted to theatre, who also discovers another love along the way.

(PHIL)

Thanks Lynn. That was Lynn Slotkin, our critic and Passionate Playgoer. You can read Lynn’s blog at

www.slotkinletter.com

Enchanted April continues at the Festival Theatre, Shaw Festival, until October 26 

www.shawfest.com

Strolling Player continues at the Red Sandcastle Theatre, 922   Queen Street East near Logan.

www.redsandcastletheatre.com

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The following two reviews were broadcast on Friday, September 6, 2013, Fortune and Men’s Eyes at Dancermakers in the Distillery District until September 8 and The Three Musketeers at the Stratford Festival until October 19.

 The guest host was Phil Taylor.

(PHIL)

It’s Friday morning and time for our theatre fix with Lynn Slotkin, our theatre critic and passionate playgoer.  Hi Lynn

 1) What’s up this week in the theatre.

 (LYNN)

I’ve got two with a kind of an historical place in theatre. The first is Fortune and Men’s Eyes written by Canadian playwright John Herbert in 1967 where it premiered Off Broadway in New York. This revival plays at Dancemakers in the Distillery District.

 And then The Three Musketeers playing at the Stratford Festival.

 (PHIL)

2) What’s the story? FORTUNE IN MEN’S EYES first.

 (LYNN)

While Fortune and Men’s Eyes was first produced Off-Broadway in 1967, it’s still considered one of the cornerstones of Canadian theatre in the late 1960s. It is both poetic and brutal as it traces the six month journey of Smitty, a young man who goes from being an innocent in jail for the first time, to a cynical, hardened inmate.

 He shares the cell with Rocky, a tough bully who offers Smitty protection and friendship.  What Smitty soon learns is that he will have to repay Rocky by being at his beck and call be it for cigarettes or sex. Rocky assures Smitty he’s not queer; he’s just an opportunist.

 Also in the cell is Queenie, openly gay, manipulative and dangerous, and Mona, a fragile, sensitive young man who is ground down by the prison system but sees a friend in Smitty.

 The play is an indictment of a corrupt, violent penal system that turns a blind eye to the violence and violation among the prisoner population and then ratchets up the tension when guards carry off prisoners to secret torture rooms to do further damage.

 Playwright John Herbert knew where of he spoke.  The fragile Mona is a stand-in for him.  At one point Mona tells of being arrested when he is gang attached by some thugs who then turn the tables and say he enticed them.  That happened to Herbert and landed him in jail for the first time. He was assaulted in prison.  He was taken to that secret torture chamber and beaten up by the prison guards.

 Does this stuff go on 50 years after the play was written? I would think so.

 (PHIL)

 3) Do you think the play is dated?

 (LYNN)

 Is the play dated if it was first written about 50 years ago and talks about a particular segment of the prison population? Why should that matter? It happened to John Herbert and the experience caused him to write a searing play about it, that has stood the test of time.

 Herbert wrote many plays after that, a few were published, but none with the resonance and staying power of Fortune and Men’s Eyes.

 (PHIL)

 3) How’s the production?

 (LYNN)

Stefan Dzeparoski is the director. He directed this and his last two productions with varying degrees of bringing it off. Mr. Dzeparoski is a definitely a director with a vision. Nothing wrong with that. It’s when that concept gets in the way of the play that I get concerned.

 The space of the Dancemakers in the Distillery District offers challenges of its own. It’s huge. Hardly conducive to doing a play in which the claustrophobia of the cell would make any person go bonkers. Four prisoners live in what should be a tiny cell. But things being what they are in this packed theatre season, Birdland Theatre which is producing the play, has to live with the space that is available.

 Designer Joseph Pagnan has all four men wearing only sweat pants. Sex is always simmering under the surface.  Pagnan suggests the bunk beds with only a simple mat on the floor, with some personal items of each inmate.

 Ropes of various lengths hang down from the flies, in which a weigh is attached to the end of it. The symbolism escapes me. Upstage a life-sized human shape with a clock for a face represents what should be a fifth character, the prison guard. Other members of the cast voice the lines of the guard. It saves money and works when various inmates put their arm around the ‘prison guard’, take a microphone handing down, and say the guard’s lines.

 Rocky’s rape of Smitty in the shower is suggested in a stunning, emotional scene. You get the sense of the brutality and strength of Rocky and the powerlessness of Smitty, without any need for being overtly graphic.

 Some bits of direction leave me scratching my head.  An animated white dove is projected onto the torso of a character or onto the back wall. Is this symbolism for their once innocence? It’s confusing and doesn’t work. Many scenes are underlined with a sound cue as if to reinforce where the drama is.  We’re an audience, we can figure it out and having those sound cues really serves no purpose and gets in the way.

 (PHIL)

 4) How’s the acting?

 (LYNN)

 The cast is honourable.  As Smitty, the sweet innocent, Julian de Zotti is clean cut, trusting and ultimately reduced to being as brutal as his cell mates in very short, believable order.  As Rocky, Cyrus Faird is all swagger and dangerous.  As Queenie, deceptively disarming, Alex Fiddes has a wonderful fey demeanour, seemingly vapid and silly but always thinking how to manipulate the satiation.  And as Mona, David Coomber shows all the mental and physical fragility of this brutalized man. He tries to keep out of trouble but in this bullying environment that proves to be impossible.  

For the most part, this is a worthy, compelling production.

(PHIL) 

5) And the swashbuckling The Three Musketeers. It’s a complicated story, isn’t it?

(LYNN)

Very complicated. Written by Alexandre Dumas. Adapted in 1968 by Peter Raby.

 It involves espionage, political intrigue, villainy, bravery, and lots and lots of sword-fighting. The three Musketeers are Athos, Porthos, and Aramis and they are protectors of King Louis XIII, set in the 18^{th  Century.}

 ^{Eager to join them is D’Artagnon, a poor boy from the country. He has a letter of introduction to join the guards but it’s taken from him on his journey by an arrogant man who turns out to be one of the royal court. We learn that Cardinal Richelieu is trying to instigate a war between France and England.  He is aided by the beautiful and dastardly Milady De Winter. So there is a lot of intrigue in this complicated story.}

^(PHIL)

^{6) It’s billed as family fare. Is this really for families.}

^(LYNN)

^{Perhaps for older kids, but in truth, definitely not for younger ones. They will be bored to tears except for the sword-fighting, which is terrific.}

^{Miles Potter directs this and in a wonderful bit of business, at the beginning of the production, you hear the sword fighting in the dark before you actually see it. It goes on for some time, sword clanging against sword, fast, furious, and dazzling. You can just imagine the fight. The eight year old kid sitting up the row from me was sitting forward in his seat. When the lights come up and we see the fight, it’s thrilling. And when we see who is fighting, it’s a wonderful moment. But when the play gets into the politics, and the complex intrigue the play bogs down, and that kid up the row leans back into his seat, just waiting for the next sword fight.}

 ^(PHIL)

^{7) How do you fix it?}

 ^LYNN)

^{The Three Musketeers has been done at Stratford three times I believe since the beginning of the festival. They have always used the adaptation of Peter Raby. Get rid of it and never use it again if you do the play again. This country is full of playwrights who could do a lean, clean adaptation that would be family fare. Get those kids in to the theatre and grab then with the pace and thrust of the play and they will come back. The Raby version is dense and dreary.}

^{hat said, Miles Potter’s direction does try to keep the pace furious in the fight scenes. It’s full of moody lighting and sound effects. The acting of the swashbucklers brings out the different personalities of these characters. As Athos, Graham Abbey is brooding, thoughtful with a hint of a sense of humour. As Porthos, Jonathan Goad plays the fun loving buffoon except with sword fights come into it. As Aramis, Mike Shara is a dashing lady’s man who gets into countless adventures, but none like the ones they all get into together. And as D’Artagnan, Luke Humphreys is a combination of boyish charm and brashness.  He never backs down.}

^{As the embodiment of charm and evil, Milady De Winter, Deborah Hay is all grace, elegance, and cold-hearted manipulative. She has no problem killing anyone, or having someone killed. Scary for all the right reasons.}

^{There’s a lot to like in the production, but that overwhelming script has to be revised by another writer.}

^(PHIL)

^{Thanks Lynn. That’s Lynn Slotkin our theatre critic and  passionate playgoer. You can read Lynn’s blog at www.slotkinletter.com}

^{Fortune and Men’s Eyes plays at Dancemakers in the Distillery District until September 8.}

^{The Three Musketeers  plays in Stratford until Oct. 19}

^{www.stratfordfestival.ca}

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The following reviews were broadcast on Friday, August 23, 2013. CIUT FRIDAY MORNING, 89.5 FM: OTHELLO and THE MERCHANT OF VENICE both at Stratford playing until October.

 The fill in guest host was Philip Conlon.

 (PHILIP)

It’s theatre review time with Lynn Slotkin, our passionate playgoer and theatre critic. Hi Lynn.

 (LYNN)

Hi Philip.

(PHILIP)

1)   What plays are you talking about today?

(LYNN)

I’m talking about two plays with a lot of similarities:

Both take place in Venice. Both are about men who are outsiders even though they have achieved some stature in the city. Both have experienced racism. And both men lose everything at the end. I’m speaking about Othello and The Merchant of Venice.

 Othello is a celebrated soldier and master negotiator who marries the fair Desdemona. While her father respects him as a soldier, he objects to the marriage because Othello is black. Othello is also susceptible to the wicked innuendo of Iago, his ensign, who incites Othello’s jealousy, which leads to his downfall.

 In the case of The Merchant of Venice, Shylock, a Jew,  makes a loan to Antonio, a Christian. The forfeiture is a pound of Antonio’s flesh. Initially this is said as a joke because Antonio is a successful merchant, but it certainly has subtle undertones of the animosity Shylock feels towards Antonio. It does come to pass that Antonio can’t repay the loan and a court case results in which Shylock wants his payback, the pound of flesh.

(PHILIP)

2)   Race is important in both plays, but it’s really only The Merchant of Venice that riles people into wanting to ban the play. Why do you think that is?

(LYNN)

In the case of Othello I think the racism is subtle. Othello’s downfall is his susceptibility to jealousy, almost to madness; and not necessarily because of his skin colour. A few well chosen words by Iago into the ear of Othello and the poor man loses all perspective, sense of self and sense of fair play. But in the case of The Merchant of Venice, anti-Semitism is front and centre.

At every turn Shylock is vilified because he is a Jew. Boys chase him and jeer at him from morning to night.Antonio spits on Shylock because he is a Jew and because of how he does business (charges interest). And in the end Shylock looses the means to do business and even loses his Jewishness when he is forced to become a Christian to save his soul.

 As I’ve said in a previous discussion, I don’t think the play is anti-Semitic. Rather I think it’s about anti-Semitism.

 Shylock has the most eloquent speeches to prove his points.  He says to Antonio’s friends that he, Shylock, is like them as a human being. If you prick him he will bleed like they will. If you tickle him he laughs as they would. And if you wrong him then the natural reaction is to seek revenge.   It’s brilliant, and eloquent and they can’t dispute him.

 Certainly the events of the last seventy years in Europe with the Holocaust has informed the play and made people sensitive to what it’s partially about.

 (PHILIP)

3)   These are two challenging plays to produce. Take them in turn. How is Othello?

 (LYNN)

It’s a stunning production and very strongly acted. It’s directed with a very clear vision by Chris Abraham, who is proving to be one of the country’s finest young directors. The physicality is compelling. Julie Fox has designed a red set; with a raked square platform on which the action takes place.  It is simply rotated whenever a scene changes. 

If one is sitting close and the square is rotated so that the highest section is down front, then it might be difficult to see characters at the back of it, even though the focused action is down front. (a quibble). 

Michael Walton’s lighting and the music and sound of Thomas Ryder Payne are evocative and provocative.

 As Othello, Dion Johnstone has bearing, gravitas, and a combination of vulnerability and a formidable temper. He is both charmed and incredulous that the beautiful Desdemona has fallen in love with him.

 As played by Bethany Jillard, Desdemona is delicate yet brimming with a girlish confidence as this newly married woman.  She feels she can change Othello’s mind about firing  his second in command (Michael Cassio) but she doesn’t reckon on the Machiavellian manoeuvring of Iago who keeps on feeding into Othello’s jealousy. As Iago, Graham Abbey is darkly brooding, calculating and obviously dangerous.

 But I found Deborah Hay as Emilia to be the surprise.  Emilia is married to Iago.  It’s a rocky marriage. She is always listening and reacting subtly to what she is hearing and when she knows of Iago’s true evil her face reveals concern, horror, and being conflicted—what does she do. And in the end she explodes with the pent up rage of an emotionally battered wife.  It’s a blistering performance.

 I’d recommend this without reservation, but sit further back in the theatre.

 (PHILIP)

4)   And The Merchant of Venice. Do they pull it off?

(LYNN)

They do. Director Antoni Cimolino doesn’t shy away from the prickliness of the play. He sets it in the 1930s with the rise of the Fascists in Italy and the Nazis in Germany. Characters in black shirts wander through scenes. There is a sense that things are changing for the worse in Italy, so there is an underlying sense of foreboding. There is also a sense of money.

Douglas Paraschuk’s set of Shylock’s house is behind a tall ornate locked gate. Charlotte Dean’s costumes are elegant and beautifully cut and fitted.

Shylock and Antonio act with a barely veiled contempt for each other, until Shylock calls him out. And his request of a pound of flesh as the forfeiture is pretty clear in telling Antonio that he (Shylock) loathes him.

Portia is gracious but with a tone that makes her attitude clear to us, but not necessarily clear to the two bozo suitors who come to win her. Only with Bassanio does she show her unprotected emotions

(PHILIP)

5) How are the performances?

(LYNN)

The performances for the most part are very strong. As Shylock, Scott Wentworth does herculean work because he had to step in about two weeks into rehearsal to take over for Brian Bedford, who was originally cast as Shylock, who had to quit the Festival for health reasons.

Wentworth is initially jokey as Shylock but when he is wronged he is formidable and quite moving. Shylock’s demand for the bond is misplaced anger—his daughter Jessica has run off with a Gentile taking his money and some sentimental jewellery he held dear.

Having him always carry her picture as he goes through the streets asking anyone if anyone has seen her is a masterful stroke by director Cimolino. It’s a production full of such thoughtful detail. But since Shylock can’t vent about Jessica, he takes the only other option he has, he demands justice and the bond of the courts.

As Portia, Michelle Giroux gives a performance of subtlety, nuance and sophistication. Initially she is a gracious debutant with lots of money and time on her hands. But when she is in disguise as the judge she is watchful, assuming and ultimately changed.  She goes into that court ready to do battle for her husband’s friend, assuming Shylock is totally wrong. But she is changed to realize how crushed Shylock is, how heartsick, how wronged. 

She assumes he will show mercy. He gives her a heartfelt reason why he won’t. Portia is rattled by this and realizes how much Shylock has lost.  It’s a beautiful, moving performance by Giroux 

As Antonio, Tom McCamus is dapper, mournful and proud.

 While Tyrell Crews is charming and boyish as Bassanio, he could do with more variation and depth. Bassanio is a fortune-hunter. I need to see that darkness in him. I don’t doubt he loves Portia. I just have to see more depth.

 In the crucial role of Jessica, Sara Farb is lightweight.  She does not have the acting chops or experience with Shakespeare to bring off this complex part. How angry is Jessica to take her father’s money and precious keepsakes? How contemptuous is she to marry out of the faith? Yet she seems to love her father. We need to see that conflict and variation and it’s absent in this performance.

 While this is a strong and worthy production I have some issues, questions, confusion. Why is Jessica in a blond wig, and a bad one at that, when she arrives at Portia’s house with her lover Lorenzo? Is this her idea of assimilating?

She’s the only one on stage who is blonde. The rest are dark haired. The decision to go blonde makes no sense.

Some of Cimolino’s staging of the courtroom scene is a bit muddy. Portia arrives stage right but way over on stage left Shylock is sharpening his knife upstage—that scene should be clearer and more focused. We have to see both at the same time for the whole to have the power it should.  

When Portia asks Shylock to “Tarry a little….” before he begins cutting into Antonio because she has found the loophole, it should be the emotional height of that scene. Yet Cimolino has Portia stand there without a reason to find the trick. She is not searching the bond. She is just standing there. Is she being coy? I don’t think so. Does she wait for dramatic effect? That seems a bit calculated for her.  That scene could have been ratcheted up emotionally.

I don’t know why some words were changed. Why was ‘glisters’ (“All that glisters is not gold”) changed to glistens? To help the audience? Trust us, please. We can understand ‘glisters’. And why change the word ‘smith’ to ‘black-smith’ when Portia is describing how one of the absent suitors’ mother might have had a relationship ‘with a smith.’ We can figure that out too.

That said, there are moments of gasping invention. Portia helping Shylock get to his feet in court when he is sick with humiliation when he has lost everything, is a case in point. The last scene when Portia gives something to Jessica is another—jaw-dropping and so moving.

All in all, Antoni Cimolino has created a thoughtful, detailed, moving production that will have you thinking, and questioning long after you have seen it. 

(PHILIP))

Thanks Lynn. That’s Lynn Slotkin, our theatre critic and passionate playgoer. You can read Lynn’s blog at www.slotkinletter.com

 Othello plays at the Stratford Festival until October 19.

 The Merchant of Venice plays at the Stratford Festival until October 18.

 www.stratfordfestival.ca

 

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The following review was broadcast on Friday, July 19, 2013. CIUT FRIDAY MORNING, 89.5 FM 9 am to 10 am. GREAT EXPECTATIONS. At the Young Centre for the Performing Arts until  August 17.

The host was Phil Taylor.

(PHIL)

1)   Good Friday morning. It’s theatre time with Lynn Slotkin, our passionate playgoer and theatre critic, who has just returned from vacation. Hi Lynn, welcome back.

(LYNN)

Thanks Phil.

(PHIL)

2) What are you reviewing this week?

 

(LYNN)

Only one show because I got back from England on Wednesday night. Last night I saw a production of Charles Dickens’ huge novel, GREAT EXPECTATIONS, adapted and directed by Michael Shamata. Produced by Soulpepper Theatre Company playing at the Young Centre for the Performing Arts.

 

(PHIL

3)  Huge indeed. I’m assuming it’s still about Pip and his journey from poverty to being a gentleman and the various trials along the way?

 

(LYNN)

Indeed. A quick refresher. It starts with Pip at 7; orphaned and living with his harping grown sister and her sweet husband Joe.

 

Pip was visiting his parents’ grave when he is terrified to meet Abel Magwitch, an escaped convict who enlists Pip to bring him some food and a file to saw through the chains that bind his hands and legs. By a lucky chance Pip is asked to go and see Miss Haversham to play with her ward, Estella.

 

Miss Haversham is a bitter, emotionally fragile woman who was so traumatised about being left at the alter by a scumbag of a man who duped her out of a lot of money, that she wore her wedding dress from that day on and stopped all the clocks at the time of the wedding.

 

Poor Estella, as a result of such an influence, is proud, arrogant and condescending, even as a young child. She has a cold heart. Pip is captivated by her and it continues for seven years as they continue to play and she continues to disdain him.

 

As the years go on, he is desperate to become a gentleman to win her. She is sent away to become educated. Pip pines for her but comes into some money mysteriously so he can now cultivate himself.

 

Not every detail in the book is there, but there are enough that maintain the richness of Dickens’ writing; the complexity of the story; and the emotional depth of the characters. It’s a play about forgiveness, redemption, love, disappointment and finally finding your true love.

 

(PHIL)

4)  Has Michael Shamata adapted Dickens’ before?

 

(LYNN)

He has and he has a definite deft hand at it. He also did A CHRISTMAS CAROL for Soulpepper and it proves to be an audience favourite every Christmas season it plays.

 

(PHIL)

5)  You’re not keen when a playwright also directs his own work. How about when a director adapts his own work?

 

(LYNN)

I don’t have a problem with Shamata. I know that occasionally a director doesn’t know what to cut or leave in and the result can be lopsided. Not in this case.

Shamata has left in the details that tell the story and flesh out all the characters that are focused on. It seems a bit long but it is Dickens and he is wordy of course—he was paid by the word.

 

But the important thing is that Shamata keeps true to the theme, the emotional centre and the multi-faceted characters, both tender and heartless.

 

His production is very spare thanks to Shawn Kerwin’s design. A woodstove over there and about eight chairs over here that at turns are the ghost-like tombstones in the village or just chairs, and other simple props. And Steven Hawkins’ lighting is evocative.  Shamata’s staging is efficient and vivid.

 

Case in point, the bustle and hurry of London with smoke coming from over there as folks scurry with their umbrellas unfurled rushing about. In that short scene we can see the wonder Pip has of this magical, teaming place and how different it is from his former quiet life.

 

 (PHIL)

6)  And the acting?

 

(LYNN)

For the most part it’s very good. As Pip Jeff Lillico has come into his own. His voice tends to tremble in emotional scenes, but he gets the security of Pip, his desperation and longing for Estella and his regret at things that happened. And his final scene with Estella is achingly lovely.

 

As Joe, Oliver Dennis brings out all the tenderness and dignity of a simple, decent man, who loves Pip unconditionally as a surrogate father. It’s some of the most moving work from this gifted actor. You expect so much from Oliver Dennis and he always gives more.

 

As Estella, Leah Doz is imperious, cold and always intriguing.

 

Miss Haversham is a fascinating part. She is of course emotionally unbalanced and ruined by disappointment that she holds onto like a precious thing. But I find that Kate Trotter’s performance as Miss Haversham is unnecessarily overwrought and oddly mannered in her speech patterns.

 

There were a lot of kids there last night. GREAT EXPECTATIONS is  a terrific way to get kids interested in Dickens, whose books are all still in print after 200 years, and this production is a dandy way to get them introduced to the theatre too.

 

(PHIL)

Thanks Lynn. That’s Lynn Slotkin, our theatre critic and passionate playgoer. You can read Lynn’s blog at www.slotkinletter.com

 

GREAT EXPECTATIONS plays at the Young Centre for the Performing Arts until August 17.

 

www.soulpepper.ca

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The following shows were reviewed on Friday, June 21, 2013. CIUT FRIDAY MORNING, 89.5 FM. THE DAISY THEATRE, at Luminato, The Berkeley Street Theatre, Downstairs until June 23. FENG YI TING at the MacMillan Theatre until June 22.

The host was Phil Taylor.

(PHIL)

1)   Good Friday morning, it’s time for our theatre fix with Lynn Slotkin, our theatre critic and passionate playgoer.

Hi Lynn, what’s up this week? 

(LYNN)

Hi Phil. We’re finishing up this week with Luminato.  This is the 10 day festival that shines a light on Toronto with all sorts of cultural, magical, musical, literary, and theatrical events, with all sorts of other stuff thrown in.

First, I’m dealing with The Daisy Theatre brought to us by our own gifted artist, Ronnie Burkett and his Theatre of  Marionettes, and Feng Yi Ting, a Chinese opera directed by Atom Egoyan, another gifted film artist.

 (PHIL)

2). Ok Let’s start with the Daisy Theatre. What is it?

(LYNN)

From the programme of Ronnie Burkett: “The Daisy Theatre” is an experiment in  returning puppetry to a more immediate, rough-and-tumble nightly entertainment, featuring a repertory company of diverse marionette characters in improve, variety numbers and audience interaction”

The Daisy Theatre of Ronnie Burkett echoes “the Daisy plays of Czech puppeteers during the Nazi occupation” in which pointed, political comment and criticism of a tyrannical regime came from beloved characters embodied in the puppets.

As Burkett notes, such puppeteers “were often run out of town for their observations.” Fortunately our own Ronnie Burkett has not been run out of town for his outspoken comments and observations via his masterful marionettes.

(PHIL)

3) How does this play out?

(LYNN)

Burkett has created a cast of characters who ‘act’ in short skits that deal with a different aspect of Toronto, but in a subtle way. A song at the top of the show says it all.  It’s about mischief that will take place and not to tell ‘your mother,’ ‘your brother’, ‘your priest.’  The music and lyrics are by John Alcorn who also sang.

There is Lilly and her brother Lovey, two old-time actors who have been trodding the boards in the hinterlands of Canada for years, and now finally, have hit the big time in Toronto with The Daisy Theatre and a real, live audience.  While both are ancient they feel that with proper make-up and lighting, they can get away with playing Romeo and Juliet.  Lovey in particular is always dressed properly, no matter what the part or playwright. He wears formal tails on top in case he’s cast in a Noël Coward play and tights and those funny billowy shorts in case Shakespeare comes his way.

There’s a bully clown and his side-kick named Schnitzel, a downtrodden fairie who laments that he has no wings. He does have a flower growing from his head which makes him distinctive in another way.

The most poignant skit involved Edna Rural, a widow transplanted from her farm in Saskatchewan to Parkdale in Toronto. Burkett has written probably one of the most sensitive descriptions of ‘home’ and the immigrant experience of not being apart of something, I’ve ever heard.  Beautiful and heartbreaking.

 This being a rough-and-tumble evening, it’s full of Burkett’s asides, pointed comments, often political with references to local politics—you can guess who.  It’s all quick, sharp and hilarious.

Burkett has asked ten Canadian playwrights to write a ten minute skit in which one or two will be performed each night of Luminato.

 I was lucky to see “Wedding Date” by Anusree Roy, a playwright with a distinctive voice that references Southeast Asia, but is also totally Canadian. A strict Asian father is grilling his totally Canadian daughter on the man she is going out with on her first date; checking to see if he comes from a good family, neighbourhood etc.  Because of the father’s particular accent Anusree Roy read the part of the father and Burkett read the part of the daughter.  Hilarious with all sorts of pre-conceptions and mind sets.

I went the next night and there was a quirky play by Morris Panych entitled “Why”, with Schnitzel as the star.  All this and John Alcorn sang. How perfect is that?

(PHIL)

4) And is it the same show every night?

(LYNN)

I’ve seen it twice and while the structure is the same, it is different each night. Because so much of it is improvised, though again within a framework, Burkett is different every night.

He’s impish, cutting, really pointed and political. And what he does with his marionettes has to be seen to be believed. They crawl on the floor, climb up drapery, sit on the edge of the stage, hunched over in despair…

 He’s brilliant and he’s never satisfied with just being brilliant.  He always tries to top that.

 (PHIL)

5) Moving on, what is Feng Yi Ting?

 (LYNN)

It’s a Chinese opera with surtitles—part of the Luminato Festival. Composed by Guo Wenjing who also did the libretto. And directed by Atom Egoyan who has been branching out into theatre and opera, as well as creating films.

 We have two very powerful men—a warlord and his godson—who rule the country by having control over the young emperor. Something must be done. So a plot is planned where by Diao Chan, a legendary beauty, will entice both men, charm them, and then coerce the godson to kill his warlord Godfather. She will then be credited for saving her country. She is very calculating in her method and the basic story is gripping.

 (PHIL)

6) What does it sound like?

 (LYNN)

It has that distinctive high piercing sound of Chinese music. It sounds like a high violin sound, or like a mournful Erhu, also a stringed instrument.

 The part of Diao Chan, the great beauty, is sung by Shen Tiemie. At first the sound is startling because it’s not the usual soprano sound of Western music. Never mind. Her singing is so expressive and so conveys the passion and yet coolness, it’s quite compelling.

 (PHIL)

7) Since Atom Egoyan is directing does he bring his cinematic eye to the production.

 (LYNN)

He does. He makes beautiful use of shadows and silhouette. A small figurine held by our heroine in her hand is then transposed in white light onto the back screen and enlarged until it is a great presence in our sight and in the opera. There are clever projections suggesting a shower of those figurines. The whole look of the production, from the set, to the costumes, to the evocative lighting, sets the tone and mood.

 The audience is reflected in a mirrored curve on the stage at the back as they file in. So that even the cretins who didn’t turn off their cell phones for the performance,  show up as little spots of light in the reflected darkness when the production is going on.

 The costumes are rich reds for her and very ornate silks for the godson. There are projections that are intricate and intriguing. They change quickly giving a sense of pace, even though every entrance and exit of a character is very slow. And they are arty.

 As we read the surtitles, letters forming the sentence float up and away from words. Impressive, although I don’t understand the reasoning for that effect. Sometimes the artiness gets in the way.

 (PHIL)

8) How so?

 (LYNN)

For example, usually the surtitles are above the singers and quite clear to read, well yeah (SUR title as in above). But sometimes they appear at the foot of the stage then rises up in front of the character thus making it difficult, if not impossible to read.

 There is a murder up stage and it’s impressive—a white backdrop and the departed slides down the wall, I guess trailing blood on his way. I say I guess, because those on my side of the theatre couldn’t see it, and that’s because of the way that Egoyan has staged it. He has the character of Diao Chan standing downstage, blocking our view of what is going on upstage.  Could she not be placed at the extreme stage left side of the stage so we could see it clearly? 

That murder is the culmination of all the angst of this opera. It’s what the main character has plotted to achieve. It makes no sense then to block the view of a large part of your audience.

However I do welcome the experience of seeing a different kind of theatre, in this case a modern Chinese opera of a legendary tale.  

(PHIL)

Thanks Lynn. That’s Lynn Slotkin, our theatre critic and passionate playgoer. You can read Lynn’s blog at www. Slotkinletter.com

The Daisy Theatre performs at the Berkeley Street Theatre, Downstairs, June 16-23 at 9:30 pm.

www.luminatofestival.com

Feng Yi Ting plays at the MacMillan Theatre until tomorrow, June 22.

www.luminatofestival.com

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Here are the winners of the KETS Awards for 2012. Enjoy

The 2012 King Edward Tea Society (KETS) Awards for Theatre were compiled on Sunday, December 23, 2012, during high tea in the lobby of Le Meridien King Edward Hotel, Toronto.

The jury members were Paula Citron and Lynn Slotkin.

THEY BROUGHT GLORY TO THE STAGE CATEGORY

It’s All Greek to Us Award:
THE PENELOPIAD (by Margaret Atwood, directed by Kelly Thornton, designed by Denyse Karn, sound score by Suba Sankaran, lighting by Kim Purtell, particular kudos to choreographer Monika Dottor, Nightwood Theatre)

Tyrant of the Year Award:
THE LESSON (by Eugène Ionesco, directed by Soheil Parsa, Modern Times Stage Company)

Parent-Teacher Interview from Hell Award:
JORDI MAND for her play Between the Sheets (directed by Kelly Thornton, Nightwood Theatre)

Still Wonderful the Second Time Around Award:
THE LITTLE YEARS (written by John Mighton, directed by Chris Abraham, Stratford Festival, 2011; Tarragon Theatre, 2012)

Always Listen to Your Mother Award:
RAVI AND ASHA JAIN for their play A Brimful of Asha (Why Not Theatre)

Can You Please Repeat That? Award:
EINSTEIN ON THE BEACH (by Philip Glass and Robert Wilson, Luminato Festival)

Kids Can Be Really, Really Scary Award:
MR. MARMALADE (written by Noah Haidle, directed by Mitchell Cushman, Outside the March Theatre Company)

THE ÜBERTALENTED THESPIAN CATEGORY

Fast Talker Award:
RON PEDERSON (Extinction Song), Voodoo Theatre Company, SummerWorks)

The Wife Meets the Mistress Award:
SUSAN COYNE AND CHRISTINE HORNE (Between the Sheets), Nightwood Theatre)

Neighbourhood Watch Award:
ENSEMBLE (Clybourne Park, Studio 180 Theatre)

He Broke Our Hearts Award:
STUART HUGHES (The Crucible, Soulpepper)

She’s Got Balls Award:
NATASHA GREENBLATT (The Neverending Story, Young People’s Theatre)

They Could Teach the Youngsters a Thing or Two Award:
R.H. THOMSON AND DAVID FOX (No Great Mischief, Tarragon Theatre)

You Don’t Want to Meet Him in a Dark Alley Award:
MICHAEL HANRAHAN (High Life, Soulpepper)

He Showed The Other Side/Turn the Other Cheek Award:
Eddie Glen (Bloodless: The Trial of Burke and Hare, Theatre 20)

Cross Dressing Award:
ROSS PETTY (Snow White, Ross Petty Productions)

A Fantastic Christmas/Channukah Gift Award:
MIRIAM MARGOLYES, LONDON (Dickens’ Women, Soulpepper Word Festival)

Most Surprising Debut Award:
ASHA JAIN (A Brimful of Asha, Why Not Theatre)

There Always Has to Be a Yanna McIntosh Award (Toronto):
YANNA MCINTOSH (Speaking in Tongues, Company Theatre/Canadian Stage)

We’d See Them in Anything Award:
Maev Beaty
Evan Buliung
David Ferry
Gregory Prest
Maria Vacratsis

They Caught Our Eye Award:
RAQUEL DUFFY (The Royal Comedians, Alligator Pie)
CARA GEE (The Jones Boy, The Rez Sisters, Stitch)
MATTHEW GORMAN (This Lime Tree Bower)
HALEY MCGEE (The Story)
DANIEL KARASIK, playwright (The Innocents, Haunted)

GOOD STUFF – STRATFORD FESTIVAL CATEGORY

Welcome News Award:
ANTONI CIMOLINO (incoming artistic director promising to put the focus on text and acting)

Put On Your Dancing Shoes Award:
42ND STREET (directed and choreographed by Gary Griffin)

Dashing and Sexy Award:
SEAN ARBUCKLE (42nd Street)

True to the Man Award:
HIRSCH (written by Paul Thompson and Alon Nashman)

A Match Made in Heaven Award:
MIKE SHARA and JOSH EPSTEIN (The Matchmaker)

There Always Has to Be a Yanna McIntosh Award (Stratford):
YANNA MCINTOSH (Elektra)

Sweeping Visionary Award:
THOMAS MOSHOPOULOS, director, and his creative team (Elektra)

We’d See Him in Anything Award:
Tom Rooney

GOOD STUFF – SHAW FESTIVAL CATEGORY

Unearthing a Treasure Award:
A MAN AND SOME WOMEN (by Githa Sowerby, directed by Alisa Palmer)

It’s Way Better the Second Time Around Award:
RAGTIME (directed by Jackie Maxwell)

Coal Is Gold Award:
THOM ALLISON (Ragtime)

Quiet Ache Award:
Corrine Koslo and Ric Reid (Come Back, Little Sheba, directed by Jackie Maxwell)

The Book of Revelations Award:
MARTHA HENRY, director (Hedda Gabler)

All the News that Fits, We’ll Print Award:
HIS GIRL FRIDAY (directed by Jim Mezon)

Wonders When You Least Expect It Award (A Tie):
JAY TURVEY (director, Trouble in Tahiti) and PATTY JAMIESON (Mother, Ragtime)

They’ve Got the Right Stuff Award:
Benedict Campbell
Sharry Flett
Jennifer Phipps
Nicole Underhay

THE ALWAYS WORTHY ODDS AND ENDS CATEGORY…

No Neighsaying Here Award:
HANDSPRING PUPPET COMPANY, SOUTH AFRICA (War Horse, Mirvish Productions)

Guts of a Bandit Award:
THEATRE 20 (producing Bloodless: The Trial of Burke and Hare by Joseph Aragon, in tough times for musical theatre)

Best Whimsy Award:
MISS CALEDONIA (written and performed by Melody Johnson, Tarragon Theatre)

He Can Handle Armies Marching Award:
Joseph Ziegler (director, You Can’t Take It With You, Soulpepper)

Double Award – Eye-catching Theatrical Values and Potent Agro-Docudrama:
SEEDS (written by Annabel Soutar, directed by Chris Abraham, set by Julie Fox, lighting by Ana Capppelluto, Porte Parole, Montreal/Crow’s Theatre)

Best Transition to Mainstream Award:
TERMINUS, from SummerWorks to Off-Mirvish Series (written by Mark O’Rowe, directed by Mitchell Cushman, Outside the March Theatre Company)

A Most Intriguing Dialogue Concept Award:
SPEAKING IN TONGUES (written by Andrew Bovell, Company Theatre/Canadian Stage)

Tableaux and Pageantry Award:
THE STORY (designed by Catherine Hahn, lighting by Glenn Davidson, Theatre Columbus)

Most Breath-Taking Fusion of Live Action and Visual Technology Award:
LA BELLE ET LA BETE: A CONTEMPORARY RETELLING (created by Michel Lemieux and Victor Pilon, Lemieux Pilon 4D Art, Montreal, Luminato Festival)

Let’s Hear It For the Hometown Booster Award:
THEATRE PASSE MURAILLE’S ORIGINAL TORONTO-BASED FALL SEASON PLAYBILL

People Who Rocked Our World Award:
ALAN DILWORTH, director
MICHAEL RUBENFELD, writer, director, actor, producer
RED ONE THEATRE COLLECTIVE
ROSEMARY DOYLE, actor, producer, and her RED SANDCASTLE THEATRE

…AND THE NOT SO WORTHY ODDS AND ENDS CATEGORY

Is It a Bird? Is It a Plane? What the Hell Is It? Award:
LUMINATO FESTIVAL (for the second consecutive year)

Come Back When It’s Ready Award:
PLAYING CARDS 1: SPADES (directed by Robert Lepage, Luminato Festival)

Make Up Your Mind Already Award:
STRATFORD FESTIVAL, formerly STRATFORD SHAKESPEARE FESTIVAL, formerly STRATFORD FESTIVAL

He Keeps Trying Award:
JORDAN TANNAHILL (writer, director, Feral Child, Suburban Beast)

ROAD KILL CATEGORY

A Plague on Both Their Houses, and We Wish Them Both the Best Award:
BOARD OF DIRECTORS, Factory Theatre, and KEN GASS, late of Factory Theatre

Exceedingly Poor Judgment, or, Why Do This At Stratford? Award:
YOU’RE A GOOD MAN, CHARLIE BROWN (directed by Donna Feore)

Self-Indulgence Award (A Tie):
ALLIGATOR PIE (Soulpepper), and ANTHONY RAPP’S WITHOUT YOU (Off-Mirvish Series)

Cluttered Set Award:
PIRATES OF PENZANCE (designed by Anna Louizos, Stratford Festival)

Most Invisible New Theatre Space, or, It Sounds Like a Surgical Instrument Award:
DANIELS SPECTRUM

Smoke and Mirrors Award:
DES MCANUFF (director, Henry V, Stratford Festival)

Film Ain’t the Stage Award:
ATOM EGOYAN (director, Cruel and Tender, Canadian Stage)

Forsooth, Shakespeare Ain’t Your Forte Award:
AARON KROHN (Henry V, Stratford Festival)

What Have You Done to the Play? Award (A Tie):
WOOSTER GROUP, NEW YORK (with what was once Vieux Carré by Tennessee Williams), and MATTHEW JOCELYN (director, The Game of Love and Chance, Canadian Stage)

Not Ready for Prime Time Award:
SOULPEPPER ACADEMY (young actors not up to the task in The Royal Comedians and The Crucible)

Putting It in Perspective, or, Wait for the Fall Out Award:
DES MCANUFF’S TENURE (artistic director, Stratford Festival)

THE JURORS AGREE TO DISAGREE CATEGORY

MOYA O’CONNELL, actor (Shaw Festival)
MUCH ADO ABOUT NOTHING and CYMBELINE (Stratford Festival)
PENNY PLAIN (Factory Theatre)
PROUD (self-produced by Michael Healey)
THE BEST BROTHERS (Stratford Festival)
STOCKHOLM (Seventh Stage Theatre Productions/Nightwood Theatre)
TEAR THE CURTAIN (Canadian Stage)
THE GOLDEN DRAGON (Tarragon Theatre)

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The following two reviews were broadcast on Friday, November 9, 2012, on CIUT FRIDAY MORNING: ALLIGATOR PIE at the Young Center for the Performing Arts until November 25, and THE ANGER IN ERNEST AND ERNESTINE at Unit 102 Theatre, 376 Dufferin St. until Nov. 24.

The host was Rose Palmieri

(ROSE)
1) Good Friday Morning. It’s time for some theatre reviews by Lynn Slotkin, our Passionate Playgoer and theatre critic. Hi Lynn. What’s on tap today?

(LYNN)
I have two reviews. One is Alligator Pie, based on a selection of Dennis Lee’s beloved kid’s poems from all his books and not just Alligator Pie.

And the other is The Anger in Ernest and Ernestine, a dark comedy by Robert Morgan, Martha Ross and Leah Cherniak. This is the 25th anniversary of that first production.

(ROSE)
2) Let’s start with Alligator Pie, which is composed of the poems of Dennis Lee. How do you make these whimsical poems into a theatre piece?

(LYNN)
The poems lend themselves to singing, skipping, bopping and clomping because the poems are so seductively simple. They have their own beat. The show incorporates such poems as ‘Alligator Pie’, ‘Trickin’, and Psychapoo.

Poems about friendship; between two young people or between a cat and an old wizard; silly poems; serious ones; all appealing to young audiences both in age and in heart.

The poems have been selected and presented by the Creation Ensemble, a group of five Soulpepper Academy graduates (Ins Choi, Raquel Duffy, Ken MacKenzie, Gregory Prest and Mike Ross)—who were trained over a two year period to develop and expand their acting talents.

It was obvious that they had loads of other talents too—creative, inventive, musical, irreverent, so Soulpepper Artistic Director, Albert Schultz told them to go off and create shows.

Alligator Pie is the first and it’s a rousing, joyful, hugely creative work. Each poem is either set to music and sung by the group. Or they create a percussive rhythm for each by using the most unlikely stuff from snapping staplers so they sound like castanets; the ripping sound of quickly pulled sticky tape, whacking tubes on each other so that it sounds like chopsticks, or stomping on bubble wrap. Sort of like Dennis Lee meets Stomp.

(ROSE)
3) It sounds like an ideal kids show.

(LYNN)
It’s a terrific show for kids and their parents and anyone who once was a kid. But for all the enthusiasm and creativity of the cast, the results are too clever by half for this simple work.

Often images are so vivid the poem it is supposed to support disappears and all you remember is the image. In one instance plastic umbrellas are used in terrific ways; from being twirled to hooking onto each other to open them. But I defy anyone to tell me the name of the poem it was supposed to illuminate. Much too often the performance became more important than the poem.

I don’t think that’s a good thing.

(ROSE)
4) But Lynn, no disrespect, but if the audience is loving it, what difference does it make if the performances are over the top?

(LYNN)
It makes a ton of difference. Theatre is an art form in which the words of the author are supposed to be served. And while ego is there, when it overpowers everything, then we have a problem.

I found the same problem when this group and other Soulpepper academy members did a show on ee cummings. The cleverness of the performances and their invention overpowered the work and it became secondary.

I think there has to be an independent person—director, consultant, somebody to say NO, very often when self-indulgence rears its ugly head. This won’t diminish the creativity of the enterprise. It will focus and shape it so that the poems are more important than the cleverness with which they are performed.

These are hugely talented people. They listen and watch each other on stage with respect and attention. And they know how to work the audience.

In one scene one character asked another a question and a little kid reacted just loudly enough for Raquel Duffy (playing one of the characters) to do a double take and indicate that was a perfect response from the kid. That was a smart, generous and true reaction from the actress. They are all capable of this kind of connection.

More of Dennis Lee please and less of the cleverness submerging the words.

(ROSE)
5) And tell us about The Anger in Ernest and Ernestine.

(LYNN)
This was first produced by 25 years ago by Theatre Columbus and was created by Robert Morgan, Martha Ross and Leah Cherniak. Ross and Cherniak created Theatre Columbus, a clown based company.

The play uses humour to examine anger, specifically in a long-term relationship. Ernest and Ernestine are just married and love each other with those dewy eyes that young married have.

But while Ernest is meticulous about everything, Ernestine isn’t so much. He lays out his breakfast stuff neatly and pours his cereal with precision. She’s always late, in a rush, pours the cereal all over the table as well as the bowl, eats on the fly and makes a mess.

And while they love each other frustration and anger at the other gradually rears its ugly head. Painful words are said. Their love is tested.

(ROSE)
6) Tell us about this 25th anniversary production.

(LYNN)
It is produced and performed by Daniel Stolfi as Ernest and Jennifer de Lucia as Ernestine.

Both are solid performers; with a gift for comedy and are engaged to be married, which adds another dimension to the production. Stolfi in particular has a real flare for comedy. He makes Ernest into an upright, uptight guy, but Stolfi is also agile. He does a wonderful riff on Michael Jackson singing “Billie Jean”—complete with moon-walk and crotch grabs.

De Lucia is the more serious of the two and while she has gifts as a comedienne, I think she is hampered by director Robert Morgan—who was in that original production 25 years ago playing Ernest. Too often I thought De Lucia is asked to mug. She flits around the stage with a quick flat-footed, stiff-legged clomp. She bangs at her shoes trying and trying to get them on.

Which is exactly as Martha Ross did it 25 years ago in that original production, and the kind of schtick she uses in her work. I am only assuming this, but I think Robert Morgan told De Lucia to do that broad, mugging and for me that’s not funny.

Don’t do that to an actress—ask her to do her performance like another actress. De Lucia can find her own way into that part. Besides that I think the pace is laboured and slow.

Sorry but characters coming on and seeing the audience and being startled and surprised is just so ‘yesterday’.

In this production of The Anger in Ernest and Ernestine Stolfi and de Lucia come on separately and do that surprised look stuff, and draw it out, and it just wears thin.

I can appreciate paying honour to this work, from a celebrated company, but I think The Anger in Ernest and Ernestine is past its ‘best by’ date.

I do want to see Daniel Stolfi and Jennifer De Lucia in something else with another director. But I will have to pass on recommending it.

(ROSE)
Thanks Lynn. That’s Lynn Slotkin our theatre critic and passionate playgoer. You can read Lynn’s blog at www.slotkinletter.com

ALLIGATOR PIE continues at the Young Centre for the Performing Arts until November 25

THE ANGER IN ERNEST AND ERNESTINE plays at
Unit 102 Theatre, 376 Dufferin St. until Nov. 24

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