The Howland Company joins forces with Bad Dog Theatre for a Toronto Fringe run of improvised theatre, creating a new show every night inspired by traditional farces with Entrances and Exits, directed by Paolo Santalucia and running on the Factory Theatre Mainstage. Split into two parts, the scene starts in the living room, then flips to the bedroom, where we see the same scene play out but from a different vantage point.
Last night, host and FX operator Connor Low set the stage and collected suggestions from the audience: a type of party and three sounds you don’t want to hear coming from a bedroom. We got New Year’s Eve party; and breaking glass, a blood-curdling scream and a gun shot. Hilarity ensues, with tension-filled marriages, grudge-filled resentment and competition, secret passions, startling revelations and a college wrestling uniform.
Last night’s ensemble featured the hilarious improv stylings of Ghazal Azarbad, Conor Bradbury, Nigel Downer, Dylan Evans and Liz Johnston (the ensemble also includes Ruth Goodwin). With high-energy antics and side-splitting shenanigans, these actors turned on a dime to create this wacky fun slapstick tale of friends and frenemies gathering to ring in the New Year.
Entrances and Exits returns to the Factory Mainstage tonight (July 14) at 9:15 pm and July 15 at noon; these guys are sold out, but you may be able to snag some rush seats if you arrive early.
Kat Letwin, Michael Musi & Amanda Cordner. Photo by John Gundy.
Theatre Brouhaha is back at Toronto Fringe with with Tom McGee’s razor sharp, darkly funny look at judgement for the afterlife, Featherweight—inspired by Egyptian mythology and Seth Stephens-Davidowitz’s Everybody Lies: Big Data, New Data, and What The Internet Can Tell Us About Who We Really Are—directed by McGee and running at The Paddock Tavern.
A customized courtroom of the Egyptian mythology persuasion takes form as The Paddock Tavern; presided over by Anubis (Amanda Cordner) and her servant Thoth (Kat Letwin)—in this case, for the judgement of the recently deceased Jeff (Michael Musi). Traditionally, the heart of the dead is put through the Trial of Osiris: Weighed against a feather to determine whether the soul moves on to the Field of Reeds or is devoured by the demon Ammit (who, in this case, lives in The Paddock’s kitchen).
The bar was an important place in Jeff’s life, hence its appearance as his place of judgement; Anubis appears as his ex-girlfriend and servant Thoth appears as a Downton Abbey-esque Butler. Weary of judging souls for the afterlife, and aggravated by a broken justice system, a suicidal Anubis ups the ante by adding Jeff’s browser history to the scale; and proceeds to summon witnesses from his life that aren’t included on the previously approved list. The fastidious, wry-witted Thoth is to be the channel for these crucial people from Jeff’s life—and she doesn’t like this plan at all.
Faced with the soul of his father—who also faced judgement in The Paddock—we get some insight into Jeff’s dysfunctional childhood, hanging out in the bar without any meaningful guidance from a father figure. And his browser history offers some damning evidence of complicity in several #MeToo incidents; in his case, indirect, as he wasn’t the perpetrator.
Stellar work from the three-hander cast; serving up compelling, entertaining and sharply focused performances in this quirky, edgy and sardonic tale. What does our online footprint say about us, our lives and our relationships with others—and should we be judged accordingly?
Featherweight has three more performances at The Paddock: tonight through Sunday at 8 pm; it’s sold out for the remainder of the run, but you can take your chances at the door for rush seats by arriving early.
Want to check if the show you want to see is sold out? The Toronto Fringe folks have set up a page for sold-out shows, updated daily.
Vancouver-based writer/performer Megan Phillips was in town at Bad Dog Theatre last night for a one-night-only performance of her autobiographical piece Periscope—the up and down journey of finding equilibrium in her life when personal day-to-day miracles stopped coming—directed by Jeff Leard, with dramaturgy by TJ Dawe and music by Leif Ingebrigtsen.
Having done some hard soul-searching and putting in the work to correct the previous ongoing bad behaviour that was creating unnecessary drama and negative outcomes in her life, Phillips’ life was coming up roses, with a productive, successful career, as well as good professional and personal relationships. And suddenly, these life miracles stopped.
Struggling to get her groove back and keep on the path of being a productive, happy, responsible adult, she embarks on a plan to network and make friends while she bartends at a big comedy industry event. She’s confident in her plan, but anxiety keeps rearing its ugly head, so she self-medicates with MDMA to take the edge off her anxiety. And while her subsequent high behaviour turns her attendance at this event into a careening train wreck, the rock bottom it puts her in offers enlightenment and understanding.
Candid, vulnerable, poignant and sharply funny, Phillips takes us step by step through her journey and subsequent epiphany. Highlighting how it’s impossible to be “happy” all the time—including moments of the Zen of mental health—it’s a reminder that we all need to recognize, accept and move through the “negative” feelings that come up for us. We need to move past the pain to get to the joy, in the ongoing cycle that is life. After all, we can’t have joy without pain—and sometimes, we need a periscope view above all the shit in our lives to get some distance on it and laugh at it all.
This was a one-off performance of Periscope, but keep an eye out for Phillips if you happen to be in Vancouver—and look out for her return to Toronto.
Our imperious Dungeon Master invites you to his great aunt’s rec room for an evening of adventure and daring deeds in the ancient world of Trannah, as a group of intrepid heroes battle their way through horrible monsters, strange magic, debilitating injury and personal demons to achieve the fruit of their quest. Along the way, audience members will help decide their fate by rolling the die.
The epic ensemble includes Josef Addleman, Conor Bradbury, Julian Frid, Kyah Green, Ted Hambly, Liz Johnston, Isabel Kanaan, Stephanie Malek, Kaitlin Morrow, Seann Murray, Sean Tabares and Chris Wilson.
Will the stalwart band of adventurers end up in the Ruins of Forthright Ed’s, The Tomb of Eton (as we did last night), Fort Ork, Castle Ohma or in one of any other ancient Toronto-inspired locations? It’s a lot of big, wacky improv fun; full of silly antics and surprising twists as we cheer our heroes along their journey.
D&D Live! Continues in the Helen Gardiner Phelan Playhouse until July 15; check the show page for exact dates/times. This is an extremely popular company—and these guys sold out a late show on a Monday night—so book in advance to avoid disappointment.
Things are abuzz at the sisters’ house as Morro (Heather Marie Annis) and Jasp (Amy Lee) get ready for Jasp’s wedding. Clown shenanigans and audience participation ensue as the sisters visit a dress shop, first for Jasp’s wedding gown and later for Morro’s sister of the bride dress; have a cake tasting; go out clubbing with the girls for the bachelorette party; and more! And, best of all, Morro’s creating a DIY veil for Jasp! [Spoiler-ish alert: Look out for the nods to Carol Burnett, Marge Simpson and Meghan Markle.]
Of course, with Jasp getting married, Morro will be left at home alone; and Morro’s gradual realization that she will be left out of her sister’s life tugs on our heartstrings. But, in the end, nothing—not even marriage—can break the bonds of sisterly love.
Morro & Jasp: Save the Date continues in the Tarragon Mainspace until July 15; check the show page for exact dates/times. Not going to lie to you, these guys are selling out big time, so you must book in advance to avoid disappointment.
Marriage is hard work, with dozens of infuriating, mind-numbing decisions and situations to navigate every single day. For the duration of the Toronto Fringe fest, bick/antzis are here to help as they present Settle This Thing; created and performed by real-life married couple Tamara Bick and Drew Antzis, and on now in the Tarragon Theatre Extraspace.
Part improv, part TedTalk, part audience participation, Settle This Thing is a hilariously sharp and brutally honest multi-media look at the challenges of married life. Using the democratic process of audience votes to decide on issues facing their marriage, Tamara and Drew tackle everything from matching tattoos, to taking sides with/against a mother-in-law, to teaching their kids about lying. In return, and armed with scientific(ish) facts, they will provide you with coping skills and tools to navigate your relationship, deal with those in-laws and raise your kids.
It’s a whole lot of fun in 60 minutes of laugh-filled decision-making and strategizing. And the best part is: You’re deciding an issue for someone you’re likely never going to see again!
Settle This Thing continues in the Tarragon Extraspace until July 14; check the show page for exact dates/times.
Naomi Peltz, Katherine Cappallacci, Siena Dolinski & Seira Saeki. Photo by Bruce Peters.
Alumnae Theatre Company closes its 100th anniversary season—with heart, moxie and rip roaring good fun— with Queen Marie, a musical by Shirley Barrie, directed by Rosemary Doyle, with music direction by Paul Comeau and choreography by Adam Martino.
Queen Marie is a biographical musical about Canadian-born 1930s Hollywood star actress/comedienne Marie Dressler. Director Doyle takes us to the vaudeville stage, complete with proscenium arch, a live band on one side and stall seating on the other. Using minimal set pieces, projected images up centre present show posters and images of various locations as we travel through Dressler’s storied life and career.
Born Leila Koerber in Cobourg, Ontario, we witness Dressler being bitten by the acting bug at the age of five (Tess Keery), performing in tableaux realized by her mother (Catherine Ratusny, who also plays Dressler in her 40s). At 14, she lies about her age (Gabriella Kosmidis), saying she’s 18, and gets a job with the Nevada Travelling Stock Company and changes her name to Marie Dressler; launching her career and landing in the U.S.
From tableaux, to theatre, to vaudeville to the silver screen, Dressler’s career is a rollercoaster ride of ups and downs as she weathers the highs and lows of the business, embracing her ‘big girl’ brand with self-deprecation and good humour—and giving her all, and then some, to any part put upon her.
Shifting from theatre to movies, Dressler gets a break, working with fellow Canadian Mack Sennet (Adam Bonney); she goes on to work at MGM with Irving Thalberg (Conor Ling) and Louis B. Mayer (Rick Jones). Performing with the likes of Charlie Chaplin, Greta Garbo, Lionel Barrymore and Wallace Beery, Dressler packs movie houses with her comedic antics, and poignant, gutsy dramatic performances—receiving a Best Actress Oscar at the age of 60 (Leslie Rennie) for her performance in Min and Bill in 1930, and a nomination for Emma in 1932. A top box office draw in America at the time, she becomes the first female actor to appear on the cover of Time Magazine.
Embracing romance along the way, she meets and beings an affair with the charming Jim Dalton (Rick Jones), a married man with a wife in Boston who is smitten with Dressler, and woos her with gentlemanly manners and oysters. While happy to live the unorthodox life of an actor, Dressler longs for the stability and respectability of marriage, and she gets her wish; they later divorce after a series of unpleasant revelations regarding her shrinking bank account. Well into middle age, Dressler becomes smitten with Claire (Nina Tischhauser), a young nurse turned actress who she meets at an Oscar party. The two move in together and set up a cozy domestic and professional partnership, with Dressler acting as Claire’s acting mentor; but the relationship takes Claire away from her own dreams and aspirations—and Claire is faced with a hard decision.
Betrayed and cheated throughout her life—both personally and professionally—it is noteworthy that Dressler finds her primary source of support with her close network of women: her friend, astrologer Nella Webb (Siena Dolinski and Nance Gibson, playing Nella at different ages); her no-nonsense, fastidious maid/assistant Mamie Steele (Fallon Bowman and Indira Layne, playing Mamie at different ages); feisty cub reporter/fan turned screenwriter/Hollywood casting advocate Frances (Katherine Cappellacci); and her companion in later life, the tender, loyal caregiver Claire (Nina Tischhauser, who also plays Dressler in her 20s).
It’s an ambitious production, imaginatively staged with a cast of 25 enthusiastic multitasking actors that includes 21 women, 10 of whom play Marie at various ages and stages of her hard-working, determined, never dull life. Paula Wilkie plays Dressler in the final scenes; despite a serious cancer diagnosis, Dressler eschews her new role as bed-ridden patient, opting to work on three MGM films in six months before dying at the age of 65. Shouts to all the Marie Dresslers (not previously mentioned: Michele Dodick, Katrina Koenig, Stella Kulagowski & Naomi Peltz) for their energy and panache! Other stand-outs include Ling’s snobbish Brit actor Dan Daley and hilarious turn as a petulant Hollywood film director; Jessica Bowmer’s adorably precocious Boy, who hawks newspapers, peanuts and oysters, and gets into scrapes with his competition; Tischhauser as Dressler’s supportive but conflicted lover Claire; and Rick Jones does a mean tap dance bit.
She’s the Queen! The life, love and rollercoaster career of the irrepressible star Marie Dressler in the delightful, entertaining Queen Marie.
Queen Marie continues on the Alumnae Theatre Mainstage until April 28. Get advance tickets online or by calling the box office: 416-364-4170, ext. 1 (cash only at the box office). Performances run Wednesday – Saturday at 8 pm, with PWYC matinees on Sunday at 2:00 pm.
The run includes a final Post-Show Talkback on Sunday April 22. Check out the fun trailer:
Just before I sat down to write this review, I read in an Alumnae Theatre Twitter post that playwright Shirley Barrie had passed away; I’ve since learned that she’d been living with cancer and died on Sunday. I’m not sure if she was able to see this current production of Queen Marie, but Doyle, cast and crew did her proud. Thoughts go out to Shirley’s loved ones.