life with more cowbell

Hey all – apologies for the tardiness of this post. I’ve hardly been home this weekend and was having some technical difficulties with the laptop this morning (it’s been crashing – a lot). Anyway, theatre adventures this weekend…

Friday was opening night of Joan Burrow’s play Willow Quartet at the Papermill Theatre at Todmorden Mills. This indie, co-op production was directed by Jane Carnwath, and stars Patricia Casey, Andy Fraser, John Healy and Chris Owens.

Kim (Fraser) has moved into the family home, a farm house in rural Ontario, to get her life together in peace and solitude, while mom Marjorie (Casey) has moved into a condo in town. When Kim decides to take in Jim (Healy), a visiting classical musician there for the local music festival, things get complicated, especially when Kim’s estranged husband Ben (Owens), with whom she is separated, comes around the house so much.

Mainly a family drama, Willow Quartet has plenty of laughs, mainly courtesy of Marjorie, a straight-shooting, crotchety country gal with a big heart and the strength to match – always protective of Kim, even though she’s got a bit of a meddling nature (trying to push Kim and Ben back together). Fraser and Owens have a nice chemistry as spouses estranged by family tragedy, each dealing in their own way and struggling to get their lives back. Healy has great energy as the big city outsider, coming from a different world geographically and the somewhat alien lifestyle of a professional musician, with the ego to match. His character acts as a catalyst for this quiet rural family grouping, especially for Kim.

This is a lovely play, and features some beautiful classical music (designed by Rick Jones), and a fabulous impressionistic set designed by Ed Rosing (built by Mike Vitorovich) and lit by Paul Hardy. Rounding out the production team are fabuloso SM Margot “Mom” Devlin, Alice Torrance (costumes – and who also does a mean dry brushing) and Dorothy Wilson (props).

Access to the theatre is still somewhat restricted – but those who are TTCing or cycling can get down Pottery Road from Broadview, while drivers will need to access it via Bayview.

Go see this play – it runs until December 3, Tuesday through Saturday nights, with matinees on Sundays.

Yesterday afternoon, I was at the Young Centre for the George Brown Theatre School’s graduating class production of Little Women, adapted from the Louisa May Alcott novel by Emma Reeves and directed by A.D. James Simon.

The first thing I noticed when I walked into the Tankhouse Theatre (where the school performs it shows) – and remarked on to SM Debbie Read, who I know from way back – was the real floor boards used for the set. Deb pointed out that they’d also used real palettes for the frame-like flats upstage; all appeared to be reclaimed wood. The palettes had black ink cursive writing across them, fitting for a story where the main character is a writer. Nice work by set designer (also costumes) Patrick Du Wors and lighting designer Julia Vandergraaf.

The lights came up on the full cast singing a capella a Civil War era spiritual, and more songs emerge throughout the play. Music of the period composed/directed by J. Rigzin Tute, with dance choreography by Robert McCollum.

As I’ve said before, this is a class to watch – and features a group of stand-out actors, particularly performances from Lesley Robertson (Jo), André Morin (Laurie) and Edward Charette (Prof. Bhaer), as well as Hillary Carroll (a deliciously imperious Aunt March) and Tennille Read (a lovely Marmee). Nice work too from the March sisters Hannah Anderson (Meg), Hilary Scott (Beth) and Anne Cassar Taschereau (Amy). I missed seeing Tennille after the show, and will have to e-mail her my congrats on joining the likes of Susan Sarandon in the league of “hot Marmees.”

Little Women closed last night, but this class has a few more shows to come. Check the school’s website for upcoming productions.

Tonight, I’m off to The Central for Wonder Women, featuring singer/performers Kat Leonard and Arlene Paculan.