Love, possession & sacrifice in Gesher Theatre’s mystical, compelling The Dybbuk, or Between Two Worlds

Company, with Israel (Sasha) Demidov (bottom left) & Efrat Ben-Tzur (top centre). Set design by Simon Pastukh. Costume design by Stephanie Graurogkayte. Lighting design by Igor Kapustin. Photo by Daniel Kaminski.

 

Show One Productions presents the North American premiere of Gesher Theatre’s production of The Dybbuk, or Between Two Worlds, inspired by S. Ansky and adapted by Roy Chen. Directed by Gesher Theatre founder/AD Yevgeny Arye, The Dybbuk is in Toronto for a two-performance run at the Elgin Theatre. Performed in Hebrew with English and Russian surtitles, The Dybbuk is a remarkable combination of comedy and tragedy, mysticism and pragmatism; love turns to possession and the world of these people—living and dead—will never be the same.

When we first meet Khanan (Israel [Sasha] Demidov), he is up on the roof of the synagogue praying alone while the other men pray together below; it is here, during his practice of Kabbalah that he reaches out to the Almighty and confesses his love for childhood friend Leah (Efrat Ben-Tzur). But when Leah’s wealthy merchant father Sender (Doron Tavori) bursts into the synagogue with news, we learn that she has been promised to Menashe (Ori Yaniv), the son of another rich man. Khanan disputes the match and asks for Leah’s hand, a request that is met with rebuke and derision. An orphan misfit, labelled “gimp” and crazy by the other men, Khanan is roughly thrown out of the synagogue.

With his dying breath, Khanan asks the Almighty for forgiveness, but to not be separated from Leah. The dead of the community, including the ghost of Leah’s mother Hanna (Neta Shpigelman) take him in to their fold. Determined to marry Leah, Khanan hatches a plan to disrupt the wedding by possessing Leah as a dybbuk (a restless spirit). Recognizing the spirit that’s possessed her, Leah is torn by her love for Khanan and the impossible torment of being with him under these conditions. When her grandmother Frieda’s (Fira Kanter) traditional remedies fail, the family takes her to Rabbi Azriel (Gilad Kletter) for an exorcism. Revelations and dark family secrets emerge during the battle for Leah’s soul. In the end, both Leah and Khanan realize they can’t be together like this, in this in between world, and they both have some difficult choices to make.

Stunning design and riveting performances make for a compelling journey into this world of the living and the dead—and the space in between. The tight staging incorporates traditional ritual, daily life and the thin veil that separates the living from the dead—infused with an air of supernatural mystery, playfulness and even a bit of irreverence. The stage (set design by Simon Pastukh and lighting design by Igor Kapustin) is dominated by a luminous orb of a moon upstage right and a transparent box-like playing area stage left, highlighting the thin boundary between this life and the next. The accompanying music (Avi Benjamin) and sound design (Michael Vaisburd) complement the otherworldly environment, with snatches of opera; haunting biblical trumpet bursts; and the warm familiar tunes of home from the fiddler (Boris Portnoy). The costuming (Stephanie Graurogkayte) combines early 1900s period apparel with traditional Jewish ceremonial garments; and the dead are differentiated from the living by their white faces, the white makeup ritualistically applied to the newly dead by one of the veteran women dead.

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Efrat Ben-Tzur & Israel (Sasha) Demidov. Set design by Simon Pastukh. Costume design by Stephanie Graurogkayte. Lighting design by Igor Kapustin. Photo by Daniel Kaminski.

Stand-out performances from Demidov and Ben-Tzur, who have lovely chemistry as the conflicted Khanan and Leah. Longing to connect with the Almighty, Khanan also has a deep, earthly desire for Leah; and Leah, viewed as an old maid, struggles with doing what her family expects of her and the call of her own heart—and both must come to terms with the difference between love and possession. Tavori is both menacing and comical as the gravel-voiced, proud and brutish Sender. Try as Sender might to tell the world—and himself—that he only wants what’s best for his only daughter, even he must admit that he had ulterior motives for thwarting the match between Khanan and Leah. Kanter gives Frieda, Leah’s grandmother, a feisty pragmatic edge; deeply ensconced in the old ways, peppered with superstition and a belief in magic, Frieda is the guiding female hand in Leah’s life—preparing her for marriage and ultimately the most broken-hearted as revelations emerge during the exorcism.

Shpigelman is a heart-wrenching picture of love and strength as Hanna’s ghost; heartbroken at having died so young and leaving Leah without a mother, Hanna watches and protects from beyond—her daughter’s possession giving them a brief chance to connect across worlds. And Alexander Senderovich and Natasha Manor supply some much needed comic relief as the ghosts of the Watchmaker Baruch and his wife Rochelle.

 

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Yevgeny Terletzky, Lilian Ruth, Neta Shpigelman, Natasha Manor & Alexander Senderovich. Set design by Simon Pastukh. Costume design by Stephanie Graurogkayte. Lighting design by Igor Kapustin. Photo by Daniel Kaminski.

Going from her father’s house to her husband’s house, a woman in this time and place has little agency over her own life and body; and deeply professed love can easily turn to selfish possession. To varying degrees, this power dynamic between men and women still exists today—and in the face of overwhelming odds, women are still fighting and making hard choices in order to take control of their own future.

 

The Dybbuk, or Between Two Worlds has one more performance: today (Sun, Sept 30) at 3 p.m. Advance tickets available online at Ticketmaster.ca (Search by “Dybbuk”) or by calling 1-855-599-9090.

Check out the trailer:

 

 

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Truth & reconciliation through music, one step at a time, in the inspirational, intersectional I Call myself Princess

Marion Newman & Aaron Wells. Set design by Christine Urquhart. Costume design by Snezana Pesic. Lighting design by Kaitlin Hickey. Photo by Dahlia Katz.

 

Paper Canoe Projects and Cahoots Theatre join forces with Native Earth to present Jani Lauzon’s I Call myself Princess, directed by Marjorie Chan, with associate director Keith Barker and music direction by Jerod Impichchaachaaha’ Tate. History, biography, opera, and truth and reconciliation combine in this inspirational, intersectional tale of two Indigenous opera singers connecting across time and space in a journey of discovery, identity and bridging the gap between peoples one step at a time. The show opened to a packed house at the Aki Studio last night.

When opera student William (Aaron Wells), a gay Métis man, moves from Winnipeg to Toronto to study on a scholarship, his work on a production of Shanewis (The Robin Woman), 100-year-old “Indian Opera,” turns into a journey of discovery, revelation and mystical connection. Dropping clues into his path is the spirit of Tsianina Redfeather (Marion Newman), whose life and experience inspired and informed the opera, written by white composer Charles Wakefield Cadman (Richard Greenblatt) and white librettist Nelle Eberhart (Courtney Ch’ng Lancaster).

Borrowing from Indigenous music, filtered through the colonial lens of well-meaning, but unaware white artists, the opera seems hokey and embarrassing by today’s standards in terms of its cultural appropriation, and romanticized, homogenized presentation of Indigenous culture. And as he delves deeper into its history—consulting mainly the works of white academics—Will finds himself increasingly uncomfortable rehearsing it. His numerous calls to the Dean falling into a voicemail black hole, he reaches out for support from his boyfriend Alex back home (Howard Davis)—who’s overwhelmed with shift work, business school and looking after his family—and finds he’s on his own. Until Tsianina appears. An Indigenous opera singer from the past, she shows him the path she chose and the part she played in putting Shanewis on the stage.

Lovely, compelling work from this cast, featuring some impressive vocal chops. In an artfully balanced performance that features soaring mezzo soprano vocals, Newman’s Tsianina is playfully mischievous and possessing the wisdom of an elder; part colleague, part spirit guide on Will’s journey of identity and expression. Understanding that sharing truth and effecting change take time, Tsianina is patient and circumspect as she works on the opera—growing and earning respect as an artist, but holding back as she gauges what her non-Indigenous colleagues and audiences are ready for. Turning down two opportunities to perform at the Met, sees her work as a balance between self-expression and truth-telling—and making connections, step by step. Wells adeptly navigates Will’s inner conflict and serves up passionate, robust vocal performances. Personal and professional challenges collide, and Will struggles to be truth to himself and his drive for artistic expression and career, and his Indigenous heritage as he struggles with the content of the opera.

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Richard Greenblatt, Aaron Wells, Marion Newman, Courtney Ch’ng Lancaster & Howard Davis. Set design by Christine Urquhart. Costume design by Snezana Pesic. Lighting design by Kaitlin Hickey. Photo by Dahlia Katz.

Rounding out the intersectional angle of the piece are Greenblatt’s Charles, a gay man navigating his personal and professional life during a time when being out was suicide; and Ch’ng Lancaster’s Nelle, who like Tsianina must keep the public’s preparedness (in her case, for a female librettist) in mind. Greenblatt and Ch’ng Lancaster do a commendable job with Charles’ and Nelle’s personal arcs—going from well-meaning, but patronizing and largely clueless in their support of Indigenous peoples to more respectful and thoughtful allies. And Davis’s Alex, a Black gay man who doesn’t read as Black due to his light skin tone, and who must deal daily with the outside perceptions and assumptions in a largely white population. In a performance that shows both strength and vulnerability, Davis gives us a loyal, passionate man who sacrifices much for those he loves, but must come to terms with the fact that, despite his best efforts, he can’t be all things to all people, all the time.

You can tell that a lot of love, work and thought went into the production design. The fringe on Christine Urquhart’s set, combining colonial and Indigenous elements, mirrors that of Tsianina’s costume; designed by Snezana Pesic, and built by Kinoo Arcentales (Yana Manta), with beading by playwright Jani Lauzon (who delivered the moccasins last night after working all night to finish the beading). And Marc Meriläinen’s sound design—drawing from Shanewis (The Robin Woman) and classical opera, as well as original compositions by Jerod Impichchaachaaha’ Tate and Jani Lauzon—immerses us in this world of music, cultural intersection and history.

Truth and reconciliation—step by step, in each connection, each collaboration, each brave act of expression.

I Call myself Princess continues at the Aki Studio until September 30. Get advance tickets online and go see it.

Toronto Fringe: Calling out manipulative sales in the quirky, edgy, razor sharp Everyone Wants A T-Shirt!

Brittany Miranda, John Wamsley, Charlin McIsaac & Madeleine Brown. Photo by Graham Isador.

 

Has a slogan or statement on a product ever made you want to change your life?

Prairie Fire, Please explores the impact of—and calls bullshit on—corporate manipulation of our heart strings in Madeleine Brown’s Everyone Wants A T-Shirt! Directed by Aaron Jan, assisted by Anthony Tran, the satirical, thought-provoking piece is running in the Theatre Passe Muraille (TPM) Backspace for Toronto Fringe.

Beatrice Little (Brittany Miranda) and her partner (John Wamsley) need funding to grow Potatogram, their innovative, new messaging business. When Bea’s pitch is turned down by a local shopping mall business maven (Charlin McIsaac), a chance meeting with a former university classmate (Madeleine Brown) offers an opportunity to earn some money in a hot new business: selling products emblazoned with the statement “Women Rule The World”.

Faced with unfriendly responses to her sales pitches, zero sales and competition from a fiercely ambitious colleague (Wamsley), Bea realizes that selling t-shirts isn’t as easy as she thought and finds herself manipulating women so she can meet her weekly sales quota. And what’s that mystery influencer dude on the scooter (Wamsley) up to?

Edgy, quirky and insightful, Brown’s intelligent, darkly funny script plays devil’s advocate on the pyramid scheme sales model, manipulative sales relationships and commercialized feminism; and calls out systemic racism-induced barriers and the cult of celebrity. The sharp, entertaining cast is more than up for the challenge, with Brown, McIsaac and Wamsley shifting deftly between multiple hilarious characters; and Miranda juggling Bea’s journey through the insanely competitive world of the independent retailer (IR), all while trying to keep her primary partnership and business alive. As Bea confronts the dishonesty of it all, she’s got some serious prioritizing and hard choices ahead of her. Can a slogan on a t-shirt be the catalyst for real change—or is it just a way for some corporate entity to make money off our hopes and dreams?

Everyone Wants A T-Shirt! continues in the TPM Backspace until July 14; check the show page for exact dates/times. These guys are selling out—including last night’s 10 p.m. performance—plus it’s an intimate space, so booking ahead is a really good idea.

Preview: The search for a healing prayer in Spiderbones Performing Arts’ mind-blowing, heart-wrenching Everything I Couldn’t Tell You

Searching for a healing prayer with science, music and ancestral language. Spiderbones Performing Arts combines the arts of neuroscience, and music and language therapy with traditional Indigenous healing principles in its moving, mind-blowing multi-media production of Jeff D’Hondt’s Everything I Couldn’t Tell You, directed by Erin Brandenburg and running in the Theatre Centre’s Incubator space as part of the RISER Project.

Cassandra’s (Jenny Young) neuroscience has brought Megan (PJ Prudat) out of a coma, but she fears the combination of electric current and music applied to the brain may have done more harm than good. Still struggling to remember what happened to her, every emotion Megan feels presents as anger; attempts at talk therapy and other standard treatments aren’t working and Megan’s responses, fuelled by alcohol and her hatred of Cassandra, are becoming increasingly violent. When Megan fires Cassandra and demands a therapist who speaks Lenape, Cassandra reluctantly brings the experimental, unorthodox Indigenous neuropsychologist Alison (Cheri Maracle) onboard.

Unlike Cassandra’s method of electric and music impulses input into the passive brain, Alison’s method incorporates active, directed output from Megan’s brain, and translates those choices into music. Even more importantly, Alison has learned that conducting sessions in Lenape calms Megan’s tortured brain—and she’s convinced that a combination of their therapies will uncover Megan’s healing prayer.

While their approaches differ, Cassandra and Alison are both haunted by the loss of someone they loved very much: Cassandra’s partner Melanie (Cheri Maracle) and Alison’s sister Steph. Torn between maintaining a professional perspective and distance, and sharing their personal experiences of pain and grief, they both struggle with the question: who are they doing this work for? And who are they really treating—and what does this mean for Megan’s recovery?

Strong, compelling and heartbreaking performances all around in this powerful three-hander. Young delivers a taut performance as Cassandra; distant and clinical, even cold, on the surface, Cassandra is tightly wound—holding onto self-control with all her might and she navigates the aftershocks of losing Melanie while continuing her work, and lashes out with her sharp scientific mind. Moments of beautiful artistry and tenderness are revealed in a flashback, where the shy introvert Cassandra meets Melanie at a conference. Maracle brings a remarkable sense of strength and conflict to the brilliant, haunted Alison; struggling with her own ghosts, as well as confidence in herself and her theories in the face of so much doubt and derision, memories of her sister both break her heart and push her to find a way to help Megan. Alison’s determined to connect—and persists through each barrier and set-back. Prudat’s Megan is part wild child, part lost girl; as her memories surface, she mourns the familial discouragement away from her heritage, her own Uma (grandmother) steering her towards piano lessons to get her away from the ‘evil’ drum. Her irreverent, devil-may-care feral outbursts are both a cover for and a symptom of her profound pain and suffering—and she’s got the guts to do whatever it takes to get better and get her life back, however dangerous it may be.

Shouts to the evocative work from the design team: Michel Charbonneau (set), Tess Girard (videographer), André du Toit (lighting), Isidra Cruz (costume) and Andrew Penner (sound/composition) for creating a world that combines the clinical with the natural in a striking, innovative way. White set, with images—brain scans, shimmering water and art therapy drawings—and English translations of the Lenape text projected on pieces of scrim that hang like hospital curtains. The scrim also creates ghost-like barriers for flashbacks featuring lost loved ones. And there’s an opportunity to hear the Lenape language in a visceral way, with bone conduction headphones that transmit the sound into your cheekbones, providing a physical experience of the language and leaving your ears free to hear it. Headsets are limited, and distributed via a combination of game of chance and lottery draw before each performance.

Science, music, art and language combine in the search of a healing prayer in Spiderbones Performing Arts’ mind-blowing, heart-wrenching Everything I Couldn’t Tell You.

Everything I Couldn’t Tell You continues in the Theatre Centre Incubator space until May 12. Tickets available by calling The Theatre Centre’s Box Office at 416-538-0988 or online; advance booking strongly recommended, as it’s an intimate space and a short run.

A gothic fairy tale of spiritual connections, mystical protectors & escaping a monster in Brenda Clews’ gripping, magical Fugue in Green

Like a bullet in slow motion, she floated over treetops for as long as it took to blink.

A gothic fairy tale of spiritual connections, mystical protectors and escaping the clutches of a monster, this is the opening line of Brenda Clews’ mesmerizing, magical novella Fugue in Green, published by Quattro Books.

Teen siblings Steig and Curtis struggle to survive live with their cruel, controlling and abusive mother Leica while their filmmaker father Reb is away working in England. Their monster mother is a catalyst for Steig’s escapes into the woods that surround their Vermont home, where Steig finds solace in nature. It is in these moments that we learn that Steig is a magical, elemental young woman who becomes the landscape she loves and shelters in. She also sees ghosts: her grandparents and a former teacher. And the ghosts tell her things. And she has a spritely sentinel: a bird man called forth from her connection to the woods to be her guardian.

Reb lives and works with his dreams—and dreams while awake—the everyday becoming surreal, expressionist visions that surround him; a visual poet, he creates poetry with images instead of words. And what of the mysterious and angelic Clare, a magician with a camera who arrives in his life at the precise moment he needs her—both personally and professionally?

Steig’s younger brother Curtis busies himself with more traditional, earth-bound teen pursuits. While not fully immune to their mother’s unreasonable expectations, unpredictable behaviour and wrath, he bears the least of it. And when their mother goes too far with Steig one day, Curtis launches a plan to flee their mother, contact their father and join him in England. Their journey to safety is fraught with terrifying memories and shared visions, but is also protected by forest spirits.

Secrets are revealed—with devastating results. Reb had no idea about the child abuse going on in his own home; forced to move beyond his own sense of guilt of being so distant from his children, who he realizes he barely knows, he’s determined to make a safe, supportive home for them. He’s been away too much and for too long. Meanwhile, back at the family’s home in Vermont, and realizing that her children are gone, Leica flies into a spiralling, destructive rage that echoes across an ocean.

Supernatural, spiritual connections emerge and reveal themselves; the battle between order and wilderness embodied in the relationship between Steig’s mother and Steig—and even Reb. Love, family, myth and metaphysics intertwine, winding around these relationships as the two children escape the witch at home and into the arms of those who truly love them.

Magical, sensuous and seductive, Clews’ words swirl around you and draw you in; mesmerizing with evocative colours and haunting, ethereal—and sometimes disturbing—images. A short, gripping modern fairy tale, it’s perfect for curling up for an afternoon or evening read, easily finished in one sitting.

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Brenda Clews

Clews is also an artist and a poet; you can view her work on her website, and on YouTube and Vimeo. You can also connect with Clews on Twitter and Facebook.

Shakesbeers Showdown 2018: Meet contestants Kaitlyn Riordan & Chanakya Mukherjee

 

Aaand our next intrepid contestants for First Folio supremacy in Shakesbeers Showdown 2018: Jurassic BARD hail from team Shakespeare in the Ruff. Introducing Kaitlyn Riordan (aka Kaitlyn “Frickin” Riordan, or maybe that’s just me) and Chanakya Mukherjee!

Kaitlyn-Riordan-10483-8x10-e1513023135751Contestant: Kaitlyn Riordan

Team: Shakespeare in the Ruff

Favourite play from the Shakespeare canon: Hamlet

Favourite character from the canon that you’ve played so far: Ophelia

Dream role from the canon: Henry V

 

Chanakya_Mukherjee_HeadshotContestant: Chanakya Mukherjee

Team: Shakespeare in the Ruff

Favourite play from the Shakespeare canon: Coriolanus

Favourite character from the canon that you’ve played so far: Pompey (Measure for Measure)

Dream role from the canon: Romeo

 

Advance tickets for Shakesbeers Showdown 2018: Jurassic BARD are available online.

Shakesbeers Showdown 2018: Meet contestant James Wallis

Time to meet another word warrior in the battle for Folio supremacy at Shakesbeers Showdown 2018: Jurassic BARD! Introducing James Wallis from team Shakespeare BASH’d!

Wallis_JamesContestant: James Wallis
Team: Shakespeare BASH’d

Favourite play from the Shakespeare canon: Romeo and Juliet
Favourite character from the canon that you’ve played so far: Richard III
Dream role from the canon: Falstaff

Advance tickets for Shakesbeers Showdown 2018: Jurassic BARD are available online.