Interview: Lizzie Violet & her Stay the Fuck Home blog series

Lizzie Violet. Photo by Zoltan Hawryluk.

 

Everyone has their own way of dealing with today’s new normal of staying home and following physical distancing guidelines—and we’re all finding the need to develop new routines and methods of navigating everyday tasks and errands in a pseudo war-time environment, with standard items like toilet paper, hand sanitizer, flour and yeast becoming hot commodities. And all this while dealing with the emotional, financial and social impacts of living in a world with the invisible enemy that is COVID-19.

Writer, horror afficionado, zombiephile and avid bat watcher (and good friend) Lizzie Violet started a blog series called Stay the Fuck Home; offering practical and inspirational how-to and entertainment info and resources as we all hunker down at home. I asked her about the genesis of the blog series, and her thoughts on DIY and remote personal connection going forward.

Hey, Lizzie. Thanks for taking the time to talk about your Stay the Fuck Home blog series! What inspired you to start this series?

Thank you for interviewing me!

There were a few things that inspired me, to be honest. I was seeing a lot of people struggling with what was happening and the fact that necessities had vanished from our lives. When I say necessities, I don’t just mean food. Many of us, myself included, depend on many different types of resources, activities and interaction. Plus, blogging daily gave me something else to focus on. I also wanted to do something positive, and hopefully give others something else to focus on aside from the bombardment of news and negativity.

What post(s) was/were the most fun to write?

Definitely the bats post, Stay the Fuck Home Bats, Bats, Bats Edition. Because BATS! And the Stay the Fuck Home the Dried Beans Edition was fun to write. I got a little silly with that one.

The emergence of the COVID-19 pandemic has inspired a new wave of DIYers; and folks who didn’t previously make things themselves or bake, etc. have started doing so. (Necessity being the mother of invention and all.) What kinds of projects have you heard people undertaking for the first time? And do you think this experience will inspire rookie DIYers to continue DIYing after physical distancing measures have been lifted?

I hope people who either started DIYing out necessity and are new to it, or those who pulled out their sewing machine or baking tools after not using them for ages, continue to do so. I am fortunate that I was taught all of the skills I have at a very young age and have always used them. I have always said that you should know the basics of how to sew, knit, bake bread, can food and grow your own food. In the state of the world right now, these are necessities. Heck, I’ve even shared my sourdough starter with a few people. I truly hope people keep this going.

The main things I’ve seen being undertaken is sewing (mostly for masks) and bread making. It makes my heart happy, especially the baking of bread. Homemade bread is much healthier for you and really not that hard to do.

Needing to find new ways to conduct professional meetings and stay in touch with loved ones, a lot of folks (myself included) have also been introduced to, and become new users of, various video chat platforms like Facebook and Zoom, as well as performing arts live streams. How do you feel the use of this kind of technology has impacted our sense of personal connection during these unprecedented, uncertain times—and do you see this kind of remote connection as something that organizations, arts companies and folks in general will keep employing as we move past COVID-19 restrictions?

I’m actually really glad we have these resources available to us. Had this happened 10 years ago, this may have not been as possible. I do enjoy being able to see music and other forms of art through video platforms, but I personally would rather see all of it in person. What I am hoping for is once we are able to go out again, I really and truly hope that audiences start going out to live indie events again. I hope that they support artists and also smaller businesses, so they can get back on their feet. It was already hard enough as an artist to survive before the pandemic and they will need all the help they can get.

Anything you want to mention to folks about the blog series?

When I can, I am shouting out performers and artists I know and love. Please go support them! I’ve put links to them when possible. It was also a huge part of why I started doing the Stay the Fuck Home series.

Anything else you want to shout out?

I really want to shout out small businesses. They are doing everything they can to stay alive. They are being creative and innovative and deserve our love! Especially restaurants. They are trying their best, go order some take out from them!

Now, for the fun part. I’d like to finish up with James Lipton’s Pivot questionnaire:

What’s your favourite word? FUCK!

What’s your least favourite word? I have a couple. Umami and bespoke. Because no one uses them correctly!

What turns you on? Kindness.

What turns you off? Any kind of disrespect and that horking noise. Don’t do that.

What sound or noise do you love? Cawing of crows and ravens.

What sound or noise do you hate? The scraping noise the subway or street cars make.

What’s your favourite curse word? FUCK!

What profession other than your own would you like to pursue? It changes every once in a while. Currently, Forensic Anthropology.

What profession would you not like to do? Veterinarian. At one point I did want to become one, until I found out you had to euthanize animals.

If Heaven exists, what would you like to hear God say when you arrive at the Pearly Gates? Oh no! Not this one!

Thanks, Lizzie!

You can find Lizzie Violet on Facebook, and on Twitter and Instagram (@lizzieviolet13). She also curates and hosts Killer B Cinema with her partner Zoltan Hawryluk, offering monthly screenings of B movies. Normally hosted upstairs at See Scape in Toronto, they’re working on posting screenings on YouTube as we continue to practise physical distancing—and hope to be back at See Scape soon.

Lizzie posted this piece after we did this interview; it’s one of the most important ones yet: Stay the Fuck Home It’s Okay to Be Kind to Yourself.

 

 

Saying goodbye to the youth of Ireland in the lyrical, hopeful, entertaining Many Young Men of Twenty

Foreground: James Phelan, Tina McCulloch, Emmet Leahy and William Laxamana. Background: Martin McGuane. Set design by Tim O’Connell and Sean Treacy. Costume design by Bernadette Hunt. Lighting design by Karlos Griffith. Photo by Gregory Breen.

 

The Toronto Irish Players take us to a time of desperate hope and dreams, leaving and staying behind, with its lyrical, hopeful and entertaining production of John B. Keane’s Many Young Men of Twenty, directed by Gregory Breen and Tim O’Connell, with musical direction by Donna O’Regan and Dan Schaumann—and running at Alumnae Theatre, where it played to a packed house last night.

It’s Southern Ireland in 1961, as we enter a village pub that serves as a microcosm for the comings and goings of local residents—and a point of departure and return for the wave of young people being sent off to England to find work in order to help support their struggling families back home. Opening with vocalists Gemma Healey-Murphy and Orlaith Ní Chaoinleáin, accompanied by Dan Schaumann on acoustic guitar, then performing a cappella, we’re transported to a time and place with evocative music, sung in both English and Irish.

The intimidating Seelie (Donna O’Regan, in an imperious, dominating turn as the boss) owns and runs the pub with her whiskey-loving brother Tom (Martin McGuane, in a complex combination of childish obstinance and adult frustration). Peg (a wistful, but fierce performance from Aoibhinn Finnegan), a young unwed single mother with a talent for making up songs on the spot—including the catchy titular tune—waits tables, plays peacemaker and nurses a broken, distrusting heart.

The large cast of characters that parade through the pub is impressive, entertaining and revealing. There’s Danger Mullaly (a thoroughly entertaining, poignant Thomas O’Neill), the local scoundrel about town; adept at getting others to spot him a pint of porter gold as he peddles miniature holy pictures, he’s a lovable scallywag with his own tale of woe. Then there’s local farm family the Dins, led by patriarch and matriarch Daheen Timineen and Maynan (played with Irish Gothic severity and resolve by James Phelan and Tina McCulloch), sending a new pair of young adult children off to England. Kevin (Emmet Leahy, as the stand-up, protective elder of the two) and Dinny (William Laxamana, as the soft-spoken, anxious younger lad) have a foreman older brother waiting for them with jobs at a London factory. And as he awaits their train departure, Kevin takes a shine to Peg and promises to write.

A year later, the Din boys return for a visit—and one of them has brought a British wife to meet the family: Dot (played with vivacious flare by Sofie Jarvis). Their parents are preparing to send another pair off; this time, daughters Maggie and Mary (shy and anxious twins Healey-Murphy and Emma Darmody). Also bursting onto the scene are local fortune teller Kitty Curley (Anne Harper, with a larger-than-life jocularity and penchant for the mysterious), with her melodeon player colleague Davy in tow (Schaumann); and local member of Irish Parliament J.J. Houlihan (David Eden, in a pompous, entitled politician turn), who’s just procured a plum position for his underqualified son Johnny (Liam Keenan, quiet and unassuming). And there’s the new schoolteacher Maurice Brown (played with affable, awkward charm by Aaron Walsh), one of the few among the younger generation to stay behind—and who also has his eye on Peg.

Weaving lively and wistful songs with snatches of daily life, we’re in a world that has one foot in the past and the other in the future, as generations-old farming families continue to find themselves forced to give over to ever-changing modern times, sending their children off into the strange world and temptations of the big city in a bid to survive. Hopes and dreams of future prosperity blend with the heart of, and longing for, home; with brave faces and humourous antics masking the pain and heartache beneath.

many young men 20 cast & crew
Cast & crew. Set design by Tim O’Connell and Sean Treacy. Costume design by Bernadette Hunt. Lighting design by Karlos Griffith. 

Melancholy and hopeful, spirited and wistful, Many Young Men of Twenty takes us to a period of youthful immigration—coming in waves that stretched well before the 1960s and onward into today—where young people must grow up quickly as they leave home for new countries to make a new life for themselves, often while tasked with supporting their families back home. Brave, heartbroken and anxious—yet hopeful, aspiring and determined. And universal in its portrayal of the choices and sacrifices that are made in the face of a changing world.

With shouts to the design team: Tim O’Connell and Sean Treacy (set), Bernadette Hunt (costumes), Karlos Griffith (lighting) and Dan Schaumann (sound), and the small army worked behind the scenes, for their fine, evocative work on creating this time and place.

Many Young Men of Twenty continues on the Alumnae Theatre Mainstage until February 29; advance tickets available online or by calling 416-440-2888.

Fear, loathing & melancholy at an office party in the razor-sharp, edgy, timely Casimir and Caroline

Hallie Seline, Cameron Laurie & Alexander Crowther. Set & costume design by Ken MacKenzie. Lighting design by Jareth Li. Photo by Dahlia Katz.

 

The Howland Company presents the North American premiere of their adaptation of Ödön von Horváth’s Casimir and Caroline, based on the original translation by Holger Syme, and adapted by Paolo Santalucia, Holger Syme and the company. Razor-sharp, edgy and timely, we’re front and centre witnesses to the goings-on at an office summer party, where bigwigs and nobodies alike eat, drink and dance as fast as they can on the rooftop patio while they all still have jobs. Running in parallel collapse are the tensions and crises between the titular engaged couple and the various corporate machinations and relationships that churn among their co-workers. It’s a one percent vs. 99 percent world of “winners” and “losers”, and no one is as they seem. Directed by Paolo Santalucia, assisted by Thom Nyhuus, Casimir and Caroline opened its run in the Scotiabank Community Studio at Streetcar Crowsnest last night.

Caroline (Hallie Seline) is enjoying some fun time with colleagues at their summer office party on a rooftop patio—until fiancé Casimir (Alexander Crowther) shows up in a mood and pisses on her parade. He got fired from his job driving their boss Rankin (James Graham) the day before, he’s broke, his cellphone doesn’t work and he’s pissed that Caroline invited him to the party. With brutally honest friends Frank (Cameron Laurie) and Frank’s girlfriend Liz (Caroline Toal) on his side, Casimir stomps in and out of the party, becoming incensed when he sees Caroline chatting with newly met co-worker, the fashionable Sanders (Michael Ayres), and later witnessing her being hit on by corporate sleazeball Rankin!

Add to the mix the boyish intern Trevor (Michael Chiem), who’s been tasked with minding the popsicle stand; the intimidating boss lady Shira (Kimwun Perehinec), visiting from the Montreal office; the neurotic Mary from HR (Veronica Hortiguela), who worships Shira and wants to rise up the ranks; and her cool, sharp-tongued co-worker pal Ellie (Shruti Kothari)—and you have a lively, fascinating field guide of some favourite office animals.

It’s a one percent vs. 99 percent world of “winners” and “losers” where anyone can lose what they have at any time and without warning. There are those at the top, trying to maintain or grow their position; those who want to be at the top, in some cases by any means necessary; and those who are either stuck at the bottom, or who have fallen from corporate and social grace. Everyone is wearing a mask of some description, and true colours are revealed as the action unfolds. And as the party fun and jocularity among colleagues devolves, so too does Casimir and Caroline’s relationship.

Casimir&Caroline-photobyDahliaKatz-1
Hallie Seline, Caroline Toal, James Graham, Shruti Kothari, Veronica Hortiguela, Cameron Laurie, Alexander Crowther & Michael Ayres. Set & costume design by Ken MacKenzie. Lighting design by Jareth Li. Photo by Dahlia Katz.

Outstanding performances all around. Seline’s Caroline has a strong sense of determination and resilience, edged with lovely sense of vulnerability; and Crowther’s Casimir is a tightly wound combination of bouffon Stanley Kowalski and hurt little boy. Laurie is both intimidating and comic as the ex-con Frank; and there’s great combative chemistry with Toal’s edgy, gruffly candid Liz. Graham’s Rankin is an entitled #MeToo poster boy, but there’s something deep and sensitive there too; and Perehinec gives stylish dragon lady Shira hints of magnanimous warmth and openness.

Ayres brings an affable charm to fashion writer Sanders, keeping us guessing whether Sanders’ smoothness has something to hide. Chiem is adorably cheerful as Millennial intern Trevor, who must decide if he wants to venture into the dark side of corporate life. Hortiguela brings both comedy and pathos as the socially awkward, ambitious Mary; and Kothari’s chill, sharply candid, in-the-know Ellie makes for the perfect foil—though Ellie’s cruelty may not always be meant in kindness.

The storytelling is nicely supported by Jeremy Hutton’s sound design and Evan MacKenzie’s composition, featuring frenetic, whirling retro accordion music in the pre-show (a nod to the 1930s German origins of the play) and some heavier urban music sounds; and Reanne Spitzer’s choreography, wild and flailing, with some synchronized group dancing.

The melancholy is balanced by absurdity—with the old adage about comedy equals tragedy plus timing in high evidence here. And elements of the ridiculous among the characters are ultimately full of poignancy. Disappointment, disillusionment and discouragement abound. The world is a fucked-up place and the ground is shaky for everyone—and that changes how people behave and present themselves. In the end, those who are genuine, sharply candid and able to express what they want are the ones who’ll make out okay.

Casimir and Caroline continues at Streetcar Crowsnest in the Scotiabank Community Studio until February 9; advance tickets available online. This is going to be a hot ticket, so advance booking is strongly recommended.

NSTF: Love, grief & celebrating life in the deeply moving, resonant musical Every Silver Lining

Allison Wither & Laura Piccinin. Photo by Tanja-Tiziana.

 

Silver Lining Productions brings its Toronto Fringe 2019 breakout musical theatre hit Every Silver Lining to the Factory Theatre Mainspace for the Next Stage Theatre Festival. Written by Laura Piccinin and Allison Wither, and directed by Jennifer Stewart, with music direction by Aaron Eyre, Every Silver Lining takes us on a journey of love, friendship, grief and a celebration of life as a family and a group of high school students navigate the loss of a son, brother and friend to cancer. The songs are both profoundly insightful, revealing and catchy—resonating deep in the heart—performed with impressive vocal chops and great sensitivity.

Seventeen-year-old Andrew (Daniel Karp) has leukemia and is looking forward to his last round of chemo. Hiding his illness from even his closest friends, he just wants to get back to school, hang out with his friends and live as normal a life as possible. He and his teen sister Clara (Allison Wither) are good buds, but since his diagnosis, she’s been feeling invisible at home, drowning in the extreme life-changing routine and tension-filled atmosphere; and even having to put some of her own life on hold while she drives Andrew to appointments and keeps him company during chemo sessions. Their mother Judy (Alison J Palmer) is fearful and hovering, and getting on Andrew’s nerves; and dad Kevin (Luke Marty) is caught in the middle, acting as peacemaker between his wife and son while the family lives with the stress and uncertainty of Andrew’s prognosis.

At school, Clara’s BFF Emily (Laura Piccinin) gently prods and advises her on how to get to know the cute new guy Ben (Alex Furber). Clara’s not sure she’s up for it, but finds herself drawn to Ben; and Andrew is happy to be back with his gamer friends Jeremy (Joel Cumber), Bev (Jada Rifkin) and Sam (Ben Skipper). This period of apparent normalcy is short-lived as Andrew comes down with a critical infection, and his chances for further treatment are gone.

Andrew’s friends are stunned to learn of his death—especially as they hadn’t known he was ill—and find themselves facing the death of a loved one their own age for the first time. They’re well-supported by their arts and science teacher Ms. Vella (Starr Domingue), who gives them space to share their thoughts and feelings. Dealing with so many feelings—about Andrew, dealing with school work and tests, blossoming feelings of attraction—and experiencing the various stages of grief is painful and confusing. But, ultimately, the friends pull together to support each other, remember Andrew and celebrate his life.

Delivered with heart and impressive vocal chops—and nicely supported by musicians Aaron Eyre (piano), Erika Nielsen (cello) and Alex Panneton (percussion)—the cast takes us from laughter to tears; performing beautifully composed songs featuring moving and catchy melodies, resonant counter melodies, and soaring harmonies. Karp gives the outgoing Daniel a combination of brave face and resilient resistance; struggling, even fighting, for normalcy when his life has been turned upside down in the face of an unknown outcome. Wither’s performance as the introverted, irreverent Clara is a nuanced portrait of a teen working through complex, challenging times; the sometimes tough, give no fucks exterior belies her inner conflict and fear of losing her brother. She loves her brother, but she hates what the disease is doing to him and their family; and feels guilty for doing so. Palmer and Marty’s grounded, present performances as parents Judy and Kevin run the gamut from hope to despair; Palmer’s loving helicopter mom and Marty’s supportive middleman dad are doing the best they can while facing the unthinkable loss of a child.

Furber gives an adorkably lovable performance as the cute, somewhat nerdy Ben; there are some lovely moments with Wither as Ben and Clara get to know each other and explore their growing attraction. Piccinin and Cumber add some great, and much needed, comic relief as the effervescent extrovert Emily and the goofy, fun-loving Jeremy. Piccinin gives Emily a warm, protective, enveloping hug vibe, while Cumber’s Jeremy is more sensitive than at first glance, using gentle humour to support his friends through their grief. Rifkin gives a poignant performance as the socially awkward Bev; and Skipper does a nice job revealing Sam’s anger about Andrew’s death, and toward Andrew himself, as Sam deals with his grief. Domingue is lovely, engaging and supportive as Ms. Vella; and makes for an understanding, approachable oncologist.

Profoundly poignant and inspiring—and full of spirit, hope and love—in the end, Every Silver Lining is about recognizing and being open to the love and support of family and friends during times of fear, loss and grief; and sharing, remembering and celebrating the life of the departed loved one as part of the acknowledgment of, and working through, the stages of the mourning process.

Every Silver Lining continues in the Factory Theatre Mainspace until January 19; check the show page for exact dates, times and advance ticket purchase.

NSTF: Keep calm & sing along with the timely, funny, moving Pearle Harbour’s Agit-Pop!

Steven Conway & Pearle Harbour. Lighting design by Logan Raju Cracknell. Photo by Michael Cooper.

 

Pearle Harbour pops onto the Factory Theatre Mainspace stage for Next Stage Theatre Festival with her timely, funny and moving pre-apocalyptic multimedia drag cabaret Pearle Harbour’s Agit-Pop! Written by Justin Miller and directed by Rebecca Ballarin, with music direction and live accompaniment by Steven Conway, and video design by Adam Miller, Pearle brings her wartime tragicomedienne song stylings and storytelling to explore our deepest fears.

Climate change is at a crisis point, the Doomsday Clock is at two minutes to midnight, and Australia’s on fire—but keep calm and laugh, sing, and even scream and cry, along with Pearle as she treats audiences to some music gems by the likes of David Bowie, Judy Garland, Tom Waits and more, including a different special guest artist appearance with every performance. Examining our deepest existential fears, the storytelling and song stylings switch between funny and poignant, with Pearle living up to her reputation as a wartime tragicomedienne and including some gentle, consensual audience participation.

The 1950s Bert the Turtle PSA bit on how to protect yourself in the event of a nuclear blast (duck and cover) got a bit too close to home this morning when that Emergency Alert went out to folks across Southern Ontario around 7:30AM. The vague warning, directed to folks living withing 10km of the Pickering nuclear power plant, turned out to be sent in error, but loads of questions remain as I write this.

There’s some truly frightening stuff happening out in the world right now—but, ultimately, Pearle’s message is one of awareness, engagement, hope and love. Let’s do better. Let’s reach out to each other. Let’s turn back that clock.

You have three more chances to catch Pearle Harbour’s Agit-Pop! in the Factory Theatre Mainspace until January 19; check the show page for exact dates, times and advance ticket purchase. The house was packed yesterday, so early arrival or advance booking strongly recommended.

NSTF: Family, community, music & lots of love in the entertaining, heartwarming Tita Jokes

Alia Rasul, Ellie Posadas, Isabel Kanaan, Maricris Rivera, Ann Paula Bautista & Belinda Corpuz. Photo by Martin Nicolas. Cathleen Jayne Calica, stylist.

 

The Tita Collective invites us into Filipin* kitchens, living rooms and lives with its Next Stage Theatre Festival production of its hilariously entertaining sold-out Toronto Fringe 2019 hit Tita Jokes. Created and performed by the Collective and directed by Tricia Hagoriles, the show features music direction and piano accompaniment by Ayaka Kinugawa, choreography by Chantelle Mostacho and animation by Solis Animation. Part Spice Girls-inspired concert, part sketch comedy and all love letter to Titas—aunts in both the familial sense and broader sense of beloved, respected Filipina elders—the ensemble sings, dances gossips and riffs on Filipin* family and community. Tita Jokes is currently running in the Factory Theatre Mainspace.

Playing characters inspired by the Spice Girls (instead of X Spice, it’s Tita X), the Collective—Ann Paula Bautista, Belinda Corpuz, Isabel Kanaan, Ellie Posadas, Alia Rasul and Maricris Rivera—frame the show as a farewell concert. With choreography that incorporates traditional Philippine fan dance, and music that borrows from pop, R&B and musical theatre, the Collective sings, dances and performs hilariously insightful, satirical sketch comedy bits that speak to the heart of Filipin* family and community, with a particular shout-out to the Titas.

The energetic, multi-talented ensemble takes us on and entertaining, often moving, ride as they weave song and dance with sketch comedy bits. Filipin* folks will especially enjoy the in-jokes, but you don’t have to be Filipin* to have a blast and laugh along with this peek into the lives, loves and experiences of the community. Highlights include a kitchen table scene between a mother and her two daughters; church ladies gossip and strut their stuff; navigating queer and gender identity in the Filipin* community; and Tita superheroes come to the rescue in a mystery/action adventure story. And even music director Ayaka Kinugawa, supplying live piano accompaniment, gets in on the act!

Tita Jokes is jam-packed with love, family, community and Tita power—and loaded with LOLs and ‘Now you know’ moments.

Tita Jokes continues in the Factory Theatre Mainspace until January 19. You have a few more chances to catch the show during this Next Stage run; check the show page for exact dates, times and advance ticket purchase. Yesterday’s show was so packed, they had to open the balcony—so advance booking is strongly recommended.

Remembering Carlin Belof

Carlin was in her mid-teens and I was in my early 20s when we first met, both students at Theatre Aquarius Summer Theatre School in Hamilton, Ontario during the mid-80s—and I remember being struck by her focus, maturity and talent. An old, creative soul, she was already writing songs that were melodic, poignant and catchy; revealing a deep sense of empathy for and sharp observation of the human condition. We bonded over growing up in Burlington (aka “Borington”), a shared irreverent sense of humour, and a mutual love of music and theatre.

Carlin and I reconnected a couple of years ago, through our mutual friend Lizzie Violet. She’d been living in Toronto, writing, recording and performing her songs, a singer/songwriter working as a barista to pay the rent. Her creative spirit had branched out to include making amazingly detailed crocheted creations: figures from horror, sci-fi and fantasy, which she sold, along with more traditional crocheted fashions, via Unravelled Crochet. I had the pleasure of interviewing her about her crochet work at the beginning of this year.

Throughout her illness, Carlin kept on making things: hats, scarves and mittens—many of which she made especially for or gave to friends. It kept her busy while she was in hospital, keeping the cabin fever at bay while she stayed positive and hopeful that she’d soon be able to return to her new apartment and a job she loved at Birds and Beans Coffee. I will always cherish the green and grey striped hat she gave me.

An extremely talented, kind and generous soul, Carlin had an open heart, a creative mind, and a twinkle in her eye with an arch of a brow that accompanied a mischievous grin. Cancer took Carlin from us—gone way too soon, she was so loved and will be profoundly missed. I picture her on a tropical beach, riding a unicorn named Hope.

Huge thanks to the staff at Princess Margaret Hospital, especially her team on the palliative care floor, for taking such good care of Carlin. If you’re looking for a good cause to support this holiday season, please consider donating to the Princess Margaret Cancer Foundation.