Red Sandcastle Theatre’s (RST) Panto Players take us on a wacky fun medieval adventure of knights, wizards, destiny—and, of course, an unusual, feisty pink cat—with their multimedia production EXCALI-PURR: The Once & Future Cat. Co-written by Jane A. Shields and Rosemary Doyle, and directed/choreographed by Jackie English, this is RST’s eighth holiday pantomime.
Young Wart (a plucky, precocious turn from Rosie Callaghan) leaves his home with adopted father Sir ‘Ector (a delightfully silly Taran Beaty) and jealous, whiny brother Kay (Farid Yazdani, with a comical sly, pernicious edge—and who does a darn good Elvis) to seek his destiny with the help of a guitar playing wizard who ages backwards (Beaty, who finally gets to play a good guy this time, as the cheeky, enigmatic Merlin) and the effervescent Twanky of the Lake (played with sassy gusto by Andrew McGillivray, who also acts as our host with the 411 on traditional panto audience responses).
Meanwhile, the evil sorceress Morgan Le Fey (played with delightful, exacting and nasty glee—plus mad trash talking skills—by Linette Doherty) plots to rule the world with a new pink, four-legged associate. Can it be that our favourite pink cat (Jackie English, with lovable sauce and guile) has gone over to the dark side? With the contest for the sword in the stone (aka Excalibur) coming, Le Fey invites Kay into her nefarious plan to secure Excalibur and the throne of England. Throw in the Pokémon-seeking knight Sir Pelinore (a treat of a goofy performance from Matthew Donovan), who challenges Kay in the joust, and we have some riotous panto adventure for kids of all ages. Will Wart find his destiny? Will good prevail?
Of course! With twists and turns, and plenty of goofy good times, laughs and music along the way (including live music performed by the multi-talented cast), EXCALI-PURR combines projected images; revamped pop tunes (from iconic rock, to hip hop and R&B, to show tunes); nods to magic/adventure movies (Harry Potter, Monty Python’s Holy Grail, Back to the Future and The Curious Case ofBenjamin Button); and audience participation to great effect. All played out on a set that wraps the audience in the story—and held together by multi-tasking stage manager Deborah Ann Frankel (also the General Manager at RST since owner/AD Rosemary Doyle started a new gig as AD/Producer at Theatre Kingston back in August).
EXCALI-PURR: The Once & Future Cat continues at Red Sandcastle Theatre (922 Queen St. East, at Queen/Logan) until January 6, with evening performances at 7pm on Dec 28-30 and Jan 2-5, and matinées at 3pm on Dec 29-31 and Jan 5-6. Tickets ($25 adult, $15 child and family fun pack $60) are available online, by calling the box office at 416-845-9411 or at the door (cash only).
And that, my friends, is officially my final review of 2018. I’ll be back in January for more amazing Toronto theatre. Happy holidays and all good things for 2019!
Clockwise, from the top: Matt Pilipiak, Victor Pokinko, Fiona Sauder, Lena Maripuu & Landon Doak. Production design by Amy Marie Wallace. Lighting design by Ken MacKenzie. Photo by Nicholas Porteous.
Bad Hats Theatre returns to the Young Centre, adding a sprinkle of magic fairy dust to the holidays with its Dora award-winning stage adaptation of J.M. Barrie’s Peter Pan. Adapted by Fiona Sauder and Reanne Spitzer, directed by Severn Thompson, with choreography by Reanne Spitzer, music by Landon Doak, and arrangements by Nathan Carroll and the company, this low-tech, highly imaginative version of the beloved children’s classic promises magic, fun and wonder for kids of all ages.
From its genesis as Co-Artistic Director Fiona Sauder’s dream project, first produced by Bad Hats at the Old Flame, a brewery in Port Perry, to a five-brewery tour in Toronto the following winter, Peter Pan first landed at the Young Centre in 2017, when Soulpepper invited the company to perform in its holiday time Family Festival. The production went on to win Dora awards for Outstanding Ensemble, Direction and Production.
Part story time, part dress-up, part musical—all magic and imagination—Peter Pan draws us in with joy, make believe and a child-like sense of play that starts before the show gets underway, with the ensemble emerging for some live music and fun with the kids sitting on the mats along the front of the horseshoe seating arrangement. Best. Pre-show. Ever.
Our grown-up narrator (Matt Pilipiak, with fun in his heart and a twinkle in his eye, going on to play the shy, soft-spoken Mr. Smee) sets the stage; and we watch as Peter (Fiona Sauder, with boyish swashbuckling bravado and impish mischief) enters the Darling home through the nursery window in search of his AWOL shadow. A lover of stories, he’s been listening at the window as Wendy (played with a lovely combination of grown-up earnestness, and childhood fun and romance by Lena Maripuu) tells stories and plays games of dress-up adventure with her younger brothers John (little gentleman, full of fun Victor Pokinko) and Michael (Richard Lam, brimming with adorable wide-eyed wonder, in the role till Dec 16; followed by Landon Doak in the role).
A sprinkle of fairy dust and a happy thought send the Darling children into flight with Peter and his fairy BFF Tinkerbell (the spritely, feisty, don’t you dare cross her Reanne Spitzer, who also plays Mrs. Darling and a Pirate) to their address at second star to the right and straight on till morning: Neverland. Joining the Lost Boys (great high-energy, comic fun turns from Jocelyn Adema, Andrew Cameron, Matthew Finlan and Tal Shulman, who all double as the rough and tumble, fun-loving Pirates), Peter and the Darling boys adopt Wendy as their new storytelling mother. Meanwhile, Captain Hook (played with hilariously evil camp by Graham Conway, who does double duty as Mr. Darling) is out to avenge his lost hand, and plots to find Peter Pan’s secret hideaway, and kidnap his friends to lure him into a trap. All the while, Hook is pursued by the crocodile that ate his hand, its whereabouts given away by the tick tock of the clock it also managed to swallow.
Sword fights, a jealous fairy turned hero and a stalking, hungry croc ensue—and good prevails over evil, with determination, pluck and ingenuity. And it’s a bittersweet moment when the Darling children return home to the nursery, in part because it also signals the end of this magical journey for us. The kids in the audience are a huge part of the fun of this show; and one or two even get a chance to get in on the fun. I dare you to not stomp your feet along with the music—and believe in magic and fairies.
Peter Pan continues at the Young Centre into the New Year, until January 5. Get advance tickets online or call the box office: 416-866-8666 or 1-888-898-1188. Booking in advance is strongly recommended to avoid disappointment. Bringing a kid isn’t mandatory, but it will ramp up your fun if you’re joined by a young friend. Go see this!
Check out the trailer, featuring highlights from this multi-talented, energetic ensemble:
Keep an eye out for Bad Hats Theatre, who are cooking up a new children’s tale for an upcoming musical brewery tour; check out their website for details, and give them a follow on their social media channels.
Thomas Gough & Christopher Fowler. Costume & prop design by Chelsea Driver. Photo by Graham Isador.
The Three Ships Collective and Soup Can Theatre have teamed up to present a delightful, unique, immersive production of holiday favourite A Christmas Carol—with original text by Justin Haigh, direction by Sarah Thorpe and musical direction by Pratik Gandhi—opening last night at Toronto’s Campbell House Museum. Incorporating live music and song, this version of the Charles Dickens classic ranges around the various rooms at Campbell House; the dynamic, effective staging taking us through time and space as we follow in the footsteps of Ebenezer Scrooge’s eye-opening, heart-wrenching and frightening journey of enlightenment and redemption.
This version of A Christmas Carol has a dark, Gothic edge that goes beyond the staging in a historic house that surely has ghosts of its own. Opening in the basement room opposite the kitchen, which serves as Scrooge’s office in the present and Fezziwig’s in the past, our tale opens with a haunting solo violin version of a familiar Christmas carol (performed by actor Amy Marie Wallace), as Scrooge’s clerk Bob Cratchit (played with affable put-upon optimism by William Matthews) huddles over his desk, trying to keep warm as the coal fire dies.
Joining us as narrator and guide is the ghost of Jacob Marley (Christopher Fowler, nicely combining gravitas and melancholy), who looks on as Scrooge arrives (Thomas Gough, exuding stone cold malice and disdain), adding an extra chill to the already glacial office. Rebuffing a dinner invitation from his nephew Fred (played with jovial cheer by John Fray) and a request for a donation from two local philanthropists (the earnest Jim Armstrong and the crisp Kholby Wardell), Scrooge goes on to later refuse the pleas of a young woman (Tamara Freeman, in a moving, impassioned performance) whose injured father and struggling family are facing foreclosure of their home on Christmas Day.
Left alone in his home after vexing his housekeeper Mrs. Dilber (played with feisty cheek by Alex Dallas), Scrooge is visited by the ghost of his old friend/former partner Marley—and his journey of reclamation at the hands of three spirits begins: the Ghost of Christmas Past (an ethereal, eerily calm turn from Wallace), the Ghost of Christmas Present (a hilariously rowdy, brutally honest Christopher Lucas) and the Ghost of Christmases Yet to Come (played with eerie, imperious silence by Tiffany Martin).
The alternate back story on Scrooge’s youth (Little Scrooge played with adorable, wide-eyed sweetness by Makenna Beatty, who also plays Tiny Tim; in rotation throughout the run with Chloe Bradt) reveals a loving home, with a father (Fray) who made bad financial decisions and subsequently forced to leave his wife and two young children at Christmas for a three-year sentence in debtors’ prison; this makes Scrooge’s miserly ways all the more poignant and his callous disregard for the destitute all the more despicable. The shy, introverted young Scrooge (played with wallflower likability by Mike Hogan) who falls in love with the adventurous extrovert Belle (Martin, with lovely, playful forwardness) at his mentor/boss Fezziwig’s (a jolly, hearty Armstrong, with Dallas as Fezziwig’s well-matched wife) rollicking Christmas office party later takes over the business—and we see the money-grasping materialism start to take hold, destroying his engagement to Belle and distancing him from the world.
And as Scrooge’s heart softens over the nostalgia of good times and lost love, it begins to break when he sees the hardship at the Cratchit house—and how, even in the most dire of circumstances, Bob and wife Emily (played with warmth, pragmatic perseverance and fierceness by Margo MacDonald) put on a brave face to make the best holiday celebration they can for their children. Then, the terror at the realization of his own mortality, and how all he strived to gain in this world can be sold off to local pawn dealer Old Joe (an edgy, menacing turn from Hogan). His heart and soul reclaimed, he joins his fellow men for the holiday, reaching out with newfound warmth and generosity to those around him (lovely work from Gough on Scrooge’s transformation).
It’s a classic cautionary tale that still speaks to us today—perhaps even more so, now that hard-right conservatives are emerging in positions of power all over the world. The hard-hearted philosophy that the poor should pull themselves up by their own bootstraps is unfortunately still alive and well. And maybe a certain president and premier would benefit from some ghostly visitations.
A Christmas Carol continues at Campbell House Museum until December 22; check here for exact dates and times. The run officially sold out before opening, but keep an eye out on Soup Can’s Twitter and Facebook feeds for released tickets. Due to the intimate nature of the performance, audience size is limited—so you must book ahead online.
Note from the production team: Due to the immersive and mobile nature of this production, audience members will be required to stand for a significant portion of the performance. A very limited number of seats can be reserved for patrons unable to stand for extended periods of time. Please contact the Campbell House Museum at 416-597-0227 ext. 2, or firstname.lastname@example.org, to confirm availability of these seats and to reserve in advance.
While this production is family-friendly, it does touch on some mature themes and is recommended for children 10 and older.
Note from me: Cellphone gawkers beware! Jacob Marley has his eye on you, and will silently and swiftly call you out on your naughty behaviour.
Losing her mother when she was a toddler, Pizano was adopted by her Aunt Julia and Uncle Jorge after her “Marlboro Man” father took off, leaving her and her two siblings behind—and a deep and lasting connection evolved with her new parents. Years later, after Pizano has moved to Canada, when an aged, widowed Julia drifts away in a lost, confused haze of dementia, she keeps her promise, returning home again and again to be with Julia during her “Calvary.” Weaving a personal history of distant and recent past—from her years growing up with Julia in Columbia to travelling back and forth from Canada during Julia’s final years, to and from hospital and nursing home; Pizano shifts from romantic nostalgia to harsh, heartbreaking life and death reality. And then, a chance meeting with a doctor at the nursing home—there to perform euthanasia on another patient—and an act of love, mercy and personal sacrifice to make a decision for a loved one who is unable to do so.
Incorporating photographs and props, projected on a row of overlapping burlap legs that flare out and merge together on the floor, we see an evolving collage of life and family—from the broad strokes of wide-ranging world events to the God-is-in-the-details moments and wisdom of shared lives. The storytelling, relayed in English and sometimes Spanish, is visually rich; full of a lust for life, liberty and equality; and resonating with the music of childhood and the revolution—and, ultimately, with hope and closure. Pizano gives us a deeply personal, candid, raw and romantic—at times interactive—performance; balanced with a cheeky sense of irreverence where religion is concerned, and a revolutionary bohemian spirit when it comes to class and politics.
Part personal memory play, part confessional, part memorial, Dividing Lines/Líneas Divisorias reminds us that the one thing that’s certain in life—and we all have in common—is that we die. What would you do for a loved one who’s lost to the world, incapacitated and in pain—to set them free?
Dividing Lines/Líneas Divisorias is in its final week, closing on December 2. Advance tickets available online or by calling The Theatre Centre’s Box Office at 416-538-0988.
Diana Tso and Nicholas Eddie. Scenic design by William Yong. Costume design by Robin Fisher. Lighting design by Rebecca Picherack. Projection design by Elysha Poirier. Photo by David Hou.
The Theatre Centre presents the world premiere of Red Snow Collective’s wondrous, enchanting, multidisciplinary The Monkey Queen, by Diana Tso, directed and choreographed by William Yong. A feminist re-imagining and counterpart to the well-known, beloved traditional Chinese story The Monkey King, from Wu Cheng’En’s 16th century epic Journey to the West, The Monkey Queen is mytho-biographic—part autobiography, part mythology. Part one of a trilogy, the journey takes the artist east, in search of her spiritual and ancestral roots; running parallel to the warrior’s search for enlightenment in a series of challenges and quests.
A multidisciplinary, multimedia piece of storytelling, The Monkey Queen weaves personal anecdotes from Tso’s life into the Monkey Queen’s heroic quest as artist and warrior travel their respective paths towards enlightenment and meaning. From the moment you set foot in the Incubator space, you feel transported to a place outside of time and space. The haunting, otherworldly music (composers Nick Storring and Brandon Valdivia) echoes like the sound of the spheres—soothing, hypnotic and mysterious—as the snow white set reflects the blue light (lighting design by Rebecca Picherack) from five branchless tree-like structures (emerging from the ground or descending from the sky?) that will change colour throughout. As the lights come up, you can see tufts of fluffy white snow along the ground, and waves of white origami flowers that seem to float along the upstage wall (scenic design by Yong). At times, images related to the action are projected (projection design by Elysha Poirier) on the upstage wall; conjuring up skeletal dragons, vast mountain ranges and a vast star-filled night sky.
Performers Tso, who plays herself and the Monkey Queen, and Nicholas Eddie, playing her friend and a multitude of other characters—male, female, old, young, demon, god—tell the tale with movement, music and text; using their voices, posture and motion to sharply define and shift between characters. As the Monkey Queen, Tso is proud, fearless and determined as the female warrior bounds across the stars, shape shifting in the blink of an eye; and pragmatic as she comes to terms with mistakes in judgement stemming from her power and emotions. Eddie transforms from the mysterious old shaman, mentor to the Monkey Queen, to fearsome demons and dragons, to a charming, handsome prince. The performances are playful and brave, with a mischievous edge; sculpted with supple, powerful and expressive movement—all tempered with a sense of gravitas in the face of insight, enlightenment and penance.
The effect is magical; and as the tale unfolds, you may find yourself feeling like a child at story time. And despite the multimedia tech, most of the work is done by the performers—this is storytelling at its fantastic, imaginative best. And while this is a tale for children of all ages, girls will be especially gratified to see that they can be heroes too; particularly when they learn that Tso’s inspiration for writing the piece was so she could play a hero who was originally written and cast as a man.
The Monkey Queen continues at the Theatre Centre until December 2; please note the 7:30 pm curtain time. Running time 65 minutes, followed by a 15-minute Q&A with the artists. Tickets available by calling The Theatre Centre’s Box Office at 416-538-0988 or online.
Clockwise, from top left: Eric Woolfe, Lisa Norton & Mairi Babb. Set & costume design by Melanie McNeill, assisted by Emily Butters. Lighting design by Michael Brunet. Photo by producer Adrianna Prosser.
Eldritch Theatre returns with more outrageously fun, horrific good times with Space Opera Zero, written by Eric Woolfe and directed by Dylan Trowbridge. Based on Thomas Middleton’s Jacobean tragedy The Changeling, Space Opera Zero! is a space horror erotic macabredy that combines poetic language, a B-movie/pulp fiction sensibility, feats of prestidigitation, 30s slang, mask and puppetry, operatic tragedy and a lesbian/alien love triangle. Space Opera Zero! opened on Friday at Red Sandcastle Theatre; I caught it last night, in an enthusiastic, sold out house.
Our story begins in 1930s America, where intrepid lesbian pilot Emily Trueheart (Lisa Norton) and mad scientist Hjalmar Pomeranki (Eric Woolfe) set off—in a space ship Pomeranki designed—on a mission where no man has gone before. Forced off course, they land on a strange faraway planet, where Emily rescues Princess Jenora (Mairi Babb) from certain death in the jaws of a vicious alien creature—and the two fall instantly in love.
Things are peachy keen until the Princess’s father, the Emperor (puppet, Woolfe), orders her to marry a fearsome tentacled alien (Norton) for the sake and safety of their planet. And while the Princess makes an unsavoury deal with the Emperor’s servant Doggo the Mutant (Woolfe) to get out of the marriage so she can be with Emily, Pomeranki is hatching an apocalyptic plan of his own back at the space ship. Caught in a web of lies and deceit, things go from bad to worse for the Princess; desperate to have things go her way, she enlists the aid of her maid/sex robot Ro-Berta (puppet, Woolfe) to distract Emily.
Will true love find a way in this faraway universe—and will there be any universe left to make sweet nookie in?
Big-time LOLs, twists and turns, and surprises from this engaging, energetic, uber-talented cast. Norton’s Emily Trueheart is the definition of moxie, combined with old-fashioned romantic; taking names and no guff (especially from men), Emily is a pioneer and explorer with the guts of a warrior and the heart of a poet. Woolfe does a stand-out job, juggling multiple hilarious and poignant characters, utilizing mask and puppetry. Notably the verbose mad scientist Hjalmar Pomeranki, who seems a nice enough fellow but has a dark purpose in mind; the reviled, put-upon servant Doggo the Mutant; and the loyal, sex-curious robot Ro-Berta. Babb gives the lovely Princess Jenora a slinky, femme fatale edge; driven to extreme measures to achieve her heart’s—and loins’—desire, the Princess risks painting herself into a corner.
With shouts to the outstanding interstellar design team: Melanie McNeill, assisted by Emily Butters (set and costumes), Michael Brunet (lighting) and Christopher Stanton (sound). And to stage manager Sandi Becker, for keeping it all running smoothly and showing us how to navigate our way through the set to access the washroom.
Space Opera Zero! continues at Red Sandcastle Theatre until December 2; advance tickets available online. It’s an intimate space with limited seating, and a super popular company getting great buzz, so advance booking strongly recommended.
Zazu Oke & Vince Deiulis. Set construction by Erica Causi. Lighting design by Wes Babcock. Photo by Kelsi Dewhurst.
Theatre Nidãna challenges what we think we know about WWI as it commemorates the 100th Anniversary of the Armistice of the First World War, giving us a little known perspective with the world premiere of Gods Like Us. An allegory that incorporates a traditional Nigerian lullaby and storytelling, and original music (composed by Nathan Radke and played by Mark Whale), Gods Like Us was devised by Zazu Oke and Vince Deiulis, who both perform in this compelling, eye-opening and thought-provoking two-hander; opening last night in the Factory Theatre Studio.
It’s November 1917, and a Canadian Recruiter (Vince Deiulis) approaches a Nigerian yam Farmer (Zazu Oke) in hopes of convincing him to join the Allied forces in their campaign to push back the Germans’ advance in East Africa. Taking a sales pitch angle on the ask, the Recruiter offers money, promising the Farmer increased status and respect within the village—and the ultimate advanced status of being “like us” (white men).
However, the British army—and by extension the Recruiter—have erred on gauging their audience. Assuming they’d be addressing uneducated, simple-minded African villagers who know nothing of the outside world, the Recruiter is faced with an intelligent, socially aware man who has personal, direct knowledge of the actual “opportunity” he’s being offered. Black men are not taken on as soldiers, but as carriers; and being denied a weapon, how are they to defend themselves? And the enhanced status pitch is inaccurate at best and at worst a lie.
The Farmer tells the Recruiter the story of the Tortoise and the Birds; the Birds are tricked by the Tortoise’s sweet words into helping him, only to find themselves cheated out of their promised reward. Instead of being helpless victims of a swindle, the Birds plot and get their revenge on the Tortoise—forever marking him as a crooked creature. While the Recruiter is charmed by the tale, he clearly doesn’t get the connection to their current circumstance.
As the Recruiter struggles to control his soldier’s heart (PTSD) episodes, the Farmer grapples with his anger at the sheer nerve and hypocrisy of his request. A British protectorate, the colonization of Nigeria has come at great, and tragic, personal and economic cost to its people. The Farmer has lost his family; and the farm is hanging by a thread as he tries to scrape by, selling his produce at lower prices to the British compared to what he could earn from his former German customers. Why should the Farmer fight for those who’ve done nothing but take from him and his people? And when the tone of the debate shifts from a battle of wits to playful wager to enraged face-off, the Farmer finds himself facing a moral choice: Does he use the power at his disposal to take revenge or does he let it go?
Riveting performances from Deiulis and Oke in this intimate tale of war, colonialism and race relations; the two-hander dynamic serving as a microcosm of the larger picture. Deiulis leaves us some room for empathizing with the Recruiter, who is under orders and navigating PTSD; but our sympathy for him only goes so far. Avoiding a sleazy, snake oil salesman approach, the Recruiter uses more friendly, insidious means to get the “natives” to sign on. Toeing the company line in his promise of white, god-like status, the Recruiter is entirely clueless to the fact that he’s adding serious insult to mortal injury. Oke is both impressive and heartbreaking as the Farmer. In deep mourning for the loss of his family and struggling to keep the farm—and himself—alive, the Farmer is patient and hospitable with the Recruiter; but his civility is tested when the Recruiter keeps pushing the Allies’ agenda, bringing the Farmer’s painful history of oppression and loss to the surface, and forcing him to push back.
Lesser known stories like this one need to be told. One has to wonder, had there been any attempt at reconciliation and reparation—and approached as a connection of equals and true partners—maybe prospective Nigerian recruits would have had a real reason to risk their lives in this war. But this observation is, of course, made through a 2018 lens. And while we honour those who served, we must also acknowledge and appreciate those who were unable to serve, or whose service was minimized, or coaxed or coerced with bait and switch methods, due to the colour of their skin.
Gods Like Us continues in the Factory Theatre Studio until November 17; advance tickets available online, or by calling 416-504-9971 or visiting the box office (125 Bathurst Street, Adelaide Street Entrance).