As you may have heard, I started a new job this month, joining Nightwood Theatre as its new Marketing & Outreach Coordinator. I spent the first week of July training with Nightwood’s former Director of Communications and Outreach, Taylor Trowbridge, who will be performing in Lewis Black’s playOne Slight Hitch at Upper Canada Playhouse this summer, then heading off to York University to do her MFA in theatre. And, now, I’m it.
I’m very excited to be working with Nightwood; there’s a lot to learn and do—and I’m happy to be working with this amazing, creative group of women.
In order to focus time and energy on the new position, I’m putting the blog on hiatus again. I’ll still be seeing shows, and shouting them out on social media, but not posting on the blog for a while. Once I get a better handle on my schedule, I’ll be back with a scaled-down life with more cowbell blog.
Till then, enjoy all the amazing arts events this big, beautiful City of Toronto has to offer—and please support local artists.
Still flying high 40 years after its creation, the award-winning Billy Bishop Goes to War returns to the Young Centre. Written and composed by John MacLachlan Gray with Eric Peterson, and directed by Ted Dykstra, Soulpepper brings Billy Bishop back to the stage in celebration of Canada’s 150th birthday.
Pulling dusty sheets from the piano, an easy chair, and a series of foot lockers and trunks, Bishop (Peterson) appears in pajamas, dressing gown and slippers. Despite the sense that we are here with him out of time and space, it’s as if we’ve woken him from a snooze. The foot lockers are a treasure trove of memorabilia and props for his story, as he dusts off memories, producing props and gear; and the framed photographs he produces along the way serve as poignant snapshots of moments and lives lived.
Through anecdotes, songs, poetry and letters to Bishop’s sweetheart Margaret back home, Peterson and Gray weave a tale of a life that was part luck, part pluck and all present. Going from the worst student at the Royal Military College (RMC)—known as a liar, a cheat and general executer of shenanigans—to an officer in the cavalry, Bishop always had an eye out for opportunity and adventure. Growing tired of being stuck in the mud or covered in sand, he looked for a way out of the cavalry. In his case, up and out. Finding his way into the Royal Flying Corps, he was taken on as an observer—a good job for him, as he was also known for his hawk eye and being a good shot—later becoming a pilot with the assistance of Lady St. Helier, who he met and befriended while recuperating in a London hospital (his tendency toward being accident prone bringing him good luck on several occasions).
As a pilot, he found a particular sense of drive and ambition, developing a friendly rivalry with fellow pilot Captain Albert Ball, and becoming famous for flying solo missions, including an attack on a German aerodrome; endeavours that earned medals, including the Military Cross, the Distinguished Service Order and the Victoria Cross. Realizing the colonies were more apt to respond to a living hero than a dead one, his British superiors gave him a new assignment, to return home as a hero and public figure, boosting morale in Canada.
Gray (on stage as the Piano Player) and Peterson are a perfect match for this journey of an unlikely hero. In addition to acting as accompanist and singer, his gentle, raspy vocals performing catchy, often moving songs, Gray takes on the roles of army buddy and audience for Bishop, as well as a number of brief moments as various other characters as needed. And Peterson juggles a number of characters in addition to Bishop, including particularly fun turns as a befuddled British officer, a drunken Scot, the imperious and proper Lady St. Helier, and the slinky chanteuse Hélène.
Foot lockers, a stand-up ash tray and a miniature of Bishop’s famous plane, as well as shadow play and projections on the upstage scrim, are used to great effect to re-enact observer flights, the first solo flight and dog fights. Peterson’s playful scallywag adventurer performance as Bishop is balanced by moments of profound poignancy: his recitation of a poem to Albert Ball, and memories of the dead and dying, in the trenches or in the sky. And when Bishop returns to us in the present, it’s like we’re spending time with a grandfather, a beloved rascal regaling us with tall tales of the war, at times appearing lost in thought or memory. For better or worse, these things happened—and they shaped a life and a career.
With big shouts to the design team—Camellia Koo (set and costumes), Steve Lucas (lighting) and director Ted Dykstra (sound)—for their work on bringing this adventure in storytelling to life.
Still soaring after all these years. Playful, irreverent and thoughtful ruminations on the nature of war and heroism in the entertaining, poignant Billy Bishop Goes to War.
It`s the eve of the 1926 municipal election, and union boss Bob Delacourt (Dan Willmott) is hosting a big shindig at his home. The incumbent, conservative prohibitionist Mayor Thomas Foster (Jerome Bourgault) is up against the progressive, union- and booze-friendly Sam McBride (Mark Prince). And everyone`s making backroom deals, including McBride`s fierce wife Fanny (Kirstin Hinton).
Meanwhile, local scribe Ben Stein (Gord Gammie) divides his time between covering the event and wooing the McBrides’ daughter Ronnie (Sappho Hansen Smythe), a modern young woman with dreams of becoming a famous reporter. And country bumpkin brothers, the clumsy Tanner (Jonathon Ellul) and malapropism-dropping Jackson (Derek Keurvorst) Busch have high hopes of making loads of cash from their home-cooked hooch; and the menacing Gil Schwartz (Jorge Molina) hopes to get in on some big time gangster action with the rumoured arrival of Chicago rum-runner Franco Vitale (is he really there or not?).
The action starts out on the lawn around the house, as we take in various goings-on and meet some of the key players. Once inside, we are ushered in groups from room to room, getting the opportunity to see three different scenes. My group first entered the dining room, where the McBrides were hosting an intimate gathering of friends and supporters, including Delacourt, developer Lol Solman (Keurvorst) and clergyman Eddie Smalls (Ben Bain). It’s all aces until they’re interrupted by the appearance of a surprise guest—and it’s Mrs. McBride who’s the most infuriated by this unexpected arrival.
Upstairs, the Women’s Christian Temperance Union is having a meeting. Chaired by the imperious Mary O’Grady Hunt (Tara Baxendale), assisted by her demure daughter Eleanor (Jaymee Fuczek) and radical colleague Pauline Drabble (Andrea Irwin), these ladies are hell-bent on spoiling the fun. Even here, there is division on how to best accomplish their goal of keeping prohibition alive and getting Foster re-elected. Even O’Grady Hunt has a secret, which we learn by way of confession and cautionary tale when she has a mother to daughter sit-down with Eleanor, who she fears is getting too friendly with Lulu and Toni.
Downstairs in the gaming room, Shwartz is waiting on the outcome of some bets—and we’re ushered over to the basement speakeasy when his private meeting arrives. Over in the speakeasy, we can buy yourself a prohibited beverage while we wrap your ears around some hot jazz, courtesy of Cali-Mays Johnson (Michelle Piller) and her girls, accompanied by Colin Frotten on the ivories. It’s here that we learn that Foster’s daughter Maddy (Karen Slater) is working as a singer, and has set up a meeting with Dr. Libby Prowse (Claire Francis Muir) via her pal Anastasia (Emma Wiechers). Don’t worry, barkeep Mad Tom (Michael Lamport) is the soul of discretion, and Katie O’Malley (Susie Burnett) can find you some company or place your bets.
Then, we are invited to wander the house to discover what we may. Upstairs, baseball star Tommy Burt’s (Eric McDace) secret is revealed even as he discovers the secret of another; and his attempt to solicit help from Solman takes an unexpected turn. Wayward Catholic schoolgirls and wanna-be flappers Louise “Lulu” (Laura Larson) and Antoinette “Toni” (Arinea Hermans) may be okay on the dance floor as they try out for jobs in the speakeasy, but they may be in over their heads when it comes to handsome Tommy—lucky for them Detective Hank Dyer (Matt Richardson, also the fight director) steps in. And across the hall at the latest temperance meeting, Pauline makes a dramatic revelation as to how far she’s willing to go for the cause.
It’s an entertaining and exciting ride. You never know who you’ll encounter or what’s going to happen. And everyone has a secret. The ensemble is fantastic—genuine and engaging storytellers fully inhabiting their characters, interacting on occasion with the audience (we are instructed to only speak when spoken to) to pull us into the story in an up-close and personal way. The show features several musical numbers, with stand-out vocals from Slater, Piller and Baxendale; and a charming duet from McDace and Hansen Smythe, as Tommy, feeling the pressures of external expectation, finds a kindred spirit in Ronnie McBride.
Secrets, back room deals and home-made hooch. Whooping it up like it’s 1926 in the entertaining, intriguing Hogtown: The Immersive Experience.
Hogtown continues at Campbell House till August 20; advance ticket booking strongly recommended—it’s a very popular show. Please note the 7:30pm start time; get there by 7:15pm to see the outdoor scenes. Get a taste from the trailer:
Struggling actor Madeleine (Madeleine Brown) takes professional resentment too far when she kidnaps a dog, then nearly kills it. Now under house arrest, she must attend a session at a special clinic, where Tony (Anthony Perpuse) will coach, craft and assess her apology to the wronged canine.
Hilarity ensues when things don’t go as Tony planned—and a battle of wits gets physical.
Brown and Perpuse are perfectly matched for this rapid-fire, often self-deprecating and satirical trip. Brown’s Madeleine is delightfully unashamed and entitled in her single-mindedness; self-absorbed and lacking in empathy, with her lizard brain ruling her actions. As Tony, Perpuse is hilariously type-A and anal; a reformed bad boy turned scientist entrepreneur clinician, he’s also a super enthusiastic fanboy of David Suzuki.
Can empathy be learned? Can science measure the sincerity of an apology? And can public apologies truly be genuine? One thing’s for certain; that’s the biggest David Suzuki head shot you’ve ever seen.
Unapologetically unapologetic; sorry seems to be the hardest word in the hilarious, sharp Madeleine Says Sorry.
Opening not with music but with the sounds of gunfire and bombs, we are thrown into a horrific world of civil war, where sisters Mara (Liana Bdewi) and Saleet (Trisha Talreja) have lost everything—except each other. In search of a safe place away from the bullets and collapsing buildings, they accept the help of family friend Tobim (Nabil Ayoub), a soldier fighting for the government who has connections with a man who can get them passage across the sea. Only able to afford one passage, Mara insists that her younger sister Saleet go, and plans to reunite with her sister when Saleet has settled somewhere safe. Their mother’s jewellery proves insufficient payment to the pirate Zaydal (Milton Dover, in multiple roles, including the Judge), and Tobim pledges to work security for him for a month.
During the sea voyage, Saleet meets Manu (Noah Beemer); he has papers, money and a lawyer aunt sponsoring him, while she has nothing. In a bargain that will benefit them both, she accepts his “on paper” marriage proposal, as it will be better for them both to be travelling as man and wife. Meanwhile, Tobim is taking out his displeasure at having to work for Zaydal on Mara, who is forced to become his slave in order to survive in the refugee camp. Raped and beaten, she never gives up hope that Saleet has made it to safety.
By the time Saleet and Manu get to his aunt’s (Jennifer Walls, in multiple roles), they have fallen in love; and with a baby on the way, they are granted refugee status and set about sponsoring Mara. Unfortunately, Mara’s application is denied; she’s been associated with Tobim, who’s been labelled a terrorist. They must find another way to bring Mara over—but will it work?
The music has a Western Asian flavour; and there are some particularly beautiful duets, especially between the sisters, and Saleet and Manu, with stand-out vocals from Talreja, Beemer and Walls (who also plays a UN refugee worker). News headlines come into an up-close and personal focus as we see the human stories behind the statistics. As this is a musical tragedy, there is heartache and grief—and I’m sure I wasn’t the only one with tears in my eyes.
Family, sacrifice and hope as separated sisters struggle for safety and reunion in the timely, heart-wrenching Seeking Refuge: A Musical Tragedy.
Lawyer Bernadette (Ruth Goodwin) and composer Oliver (James Graham)—young, in love, living together—must navigate their burgeoning relationship through a new 140-words/day law.
What will they say? How will they say it? Do words reveal or do they get in the way?
Weaving in and out of time and space, and featuring a meet cute and sharp, compelling performances, there’s lovely chemistry here. Goodwin’s Bernadette is delightfully neurotic and fastidious workaholic; Graham’s Oliver is laid back, creative and socially aware. Opposites attract, repel and complement.
Lovers navigate a 140-word day world in the provocative, intimate and sharply funny Lemons Lemons Lemons Lemons Lemons.
Tasked with preparing her father’s home for sale, McKinley tackles the most complex—and unusual—part of the cleaning and purging process: the basement bathroom that was at one time part of her father’s friend Bill’s living space. Walls and ceiling have been wallpapered with Toronto Sun Sunshine Girl clippings. And as she carefully excises these women from their bathroom prison, she discovers more than just a collection of pin-up girls.
Seeing these images as a piece of childhood/family history—not to mention that they present real women living real lives away from their photo shoots—instead of simply scraping the photos off, McKinley chooses to carefully cut and peel. Rescuing these photos and the lives that go with them, she preserves as many of the images as she can and reads the news stories of the day on the other side of each photo page. What she finds are many stories of tragedy and loss—missing and murdered women and children, and the men who put them there—that still resonate 25 years later in that they are still all too common.
The physical activity of removing the photos becomes introspective, inspiring memories of family history, as well as curiosity about the lives of these women. Using specific physical and vocal attributes, McKinley creates a series of compelling, often funny, sharply defined characters, including her father and her younger selves—and a selection of her (and Bill’s) favourite Sunshine Girls. These are women who enjoy their bodies and their sexuality, in some cases promoting themselves and/or earning a living. The rescue mission turns into a feminist excavation—of these models, the accompanying male gaze and, most importantly, of personal self-discovery. She uncovers a hidden part of herself, one that involved choices intended to make herself invisible and safe.
Peeling back the layers in the funny, frank, insightful feminist excavation Operation SUNshine.