Mystery & memory in the delightfully whimsical, darkly funny, compelling DIANA (I Knew You When We Were Fourteen)

Ian Goff & Alexa Higgins. Photo by Barry McCluskey.

 

Falling Iguana Theatre Co., in association with The Centre for Drama, Theatre & Performance Studies (CDTPS), University of Toronto, presents the delightfully whimsical, darkly funny and compelling DIANA (I knew you when you were fourteen), by Falling Iguana co-founders Alexa Higgins and Ian Goff, with contributing playwright Sarah Higgins. A physical theatre, dark comedy mystery journey—weaving movement, memory, fantasy, fact and fiction in a fairy tale-like detective story—when Diana disappears after a high school dance, Michael is determined to find out what happened to her. Supported by consulting director Gillian Armstrong and dramaturg Sharisse LeBrun, DIANA opened for a short run in the Robert Gill Theatre at U of T last night—presented as this year’s CDTPS Alumni Performance Project.

Inspired by a footnote at the end of Michael Ondaatje’s poem Elimination Dance that read: “Diana Whitehouse, where are you?”, DIANA traces the individual paths of high school classmates Diana (Alexa Higgins) and Michael (Ian Goff) as they grow into adulthood—with Michael determined to find out what happened to Diana when she disappeared after a high school dance when they were in grade nine. Stretching out across the years, across Canada from small-town New Brunswick, to Vancouver, to Toronto—with side trips in Europe—we’re introduced to the cast of characters they cross paths with; all set to a sparkly, rockin’ 80s soundtrack.

Fact, fiction, fantasy and memory intertwine in a tale that is part dark comedy mystery and part fairy tale. Incorporating music, dance, movement and a cast of characters, we watch Michael investigate as gossip and recollection merge in the stories and perceptions about Diana and her parents. And we see events unfold from Diana’s perspective; confirming, denying and refining what people think they know about her and her family. Darkly funny, at times tender and compelling, lyrical and balletic, the audience gets caught up in both journeys as Michael searches for the truth, and Diana reaches out for a life away from the small-town rumour, judgement and assumptions about her and her parents.

Outstanding work from Higgins and Goff in this 60-minute marathon of storytelling; conveying character, emotion, action and place through monologue, dialogue, dance, movement and practically zero props/set pieces with energy and precision. Higgins brings a sardonic sense of humour with an edge of loneliness to the pragmatic, restless Diana. An enigmatic presence at school—which is what draws Michael to her—Diana struggles with flying under the radar of the small-town gaze while at the same time longing to break free. Goff is delightfully awkward, earnest and curious as Michael; unlike Diana, Michael is an open book, and his sharp focus and positive demeanour keep him on his mission to find Diana, in spite of his own personal heartbreak. And the two are hilarious as honeymooning couple Steve and Sarah; experiencing comic misadventure during a tandem bike tour around Paris. And as assorted elderly and/or gossiping neighbours, telling tall tales of the family who used to live in that house.

Memory can really be a funny thing; and can often say more about us than about the actual events we’re recalling. Tainted by judgement and assumption, and eroded by time, we may not really know what we think we know.

DIANA continues at the Robert Gill Theatre until September 15, with evening performances at 8pm, and matinées at 2pm on Sept 14 and 15; tickets available online or at the door.

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Love, marriage, friendship & infidelity in the intensely intimate, brilliantly executed Betrayal

Virgilia Griffith & Ryan Hollyman. Set & costume design by Ken MacKenzie. Lighting design by Rebecca Picherack. Photo by Dahlia Katz.

 

Soulpepper rounds out its summer programming with its intensely intimate, brilliantly executed production of Harold Pinter’s Betrayal, directed by Andrea Donaldson and running at the Young Centre. A compelling look at intricate, overlapping webs of lies and deceit, it’s a fascinating look at the dynamics of love and infidelity between a husband and wife, and the husband’s best friend—and the subsequent impact on the marriage, the friendship and the affair itself. Told in reverse chronology, we start with a meeting two years after the affair has ended and go back in time to finish at the moment it was initiated.

When we first see Emma (Virgilia Griffith) and Robert (Ryan Hollyman), they’re meeting for a drink two years after the end of their affair. Robert, also married with children, is the best friend of Emma’s husband Robert (Jordan Pettle). What follows is a brief history of the relationship, shifting from this somewhat awkward meeting, to the break-up, to the revelation, and back through the pseudo-domestic bliss of afternoons spent at their furnished apartment oasis, to the moment the affair starts. We also see Robert and Jerry spending time together, including their favourite Italian restaurant, where they’re served by a waiter who clearly knows them as regulars (Paolo Santalucia, delightfully familiar with an edge of attitude). Questions of who knew what and when are revealed, concealed and lied about throughout, with selective candour emerging at pivotal moments—by chance or on purpose?

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Ryan Hollyman & Jordan Pettle. Set & costume design by Ken MacKenzie. Lighting design by Rebecca Picherack. Photo by Dahlia Katz.

Stunning performances all around in this tight, sharply drawn Pinter favourite. The three main characters are very smart—both culturally and intellectually—and, coupled with the fact that they’re all professionals in the British arts and culture scene, the cool, polite and cerebral nature of their banter-filled interactions belies the fiery, devil-may-care, primal passions within—and the accompanying loneliness and ennui that lead them astray. Griffith brings a self-possessed air of confidence to independent and enigmatic Emma; the most pragmatic and level-headed of the affair pairing, Emma’s participation seems to come more from a place of loneliness than passion. Hollyman’s Jerry is an affable combination of wit, enthusiasm and cluelessness; a man with a “talent for finding talent”, Jerry pursues Emma with the lyrical passion of a university freshman—then gets upset when he learns that his best friend knows he’s been having it off with his wife. This hypocrisy extends to Robert, played with cool, poker-faced detachment by Jordan Pettle; with razor-like precision, Robert reveals little and conceals much—and has been having affairs himself, possibly out of a sense of marital ennui.

Starting in 1977 and ending in 1968, the brilliant reverse chronological structure not only acts as a compelling rewind on the relationships, but serves as hindsight wisdom. The finely-tuned energy and pacing of the performances create the feeling of a fire gone out at the beginning, to a dying ember, to a spark at the beginning—a spark that, one imagines, has emerged from the dying embers of the two marriages. It is a thrilling, guilty pleasure to witness; and the up-close-and-personal intimacy of the piece makes the audience feel complicit in the cheating. And the outstanding efforts of the design team transport us to both time and place with impeccable attention to detail and flare: the teak furniture and print designs of Ken MacKenzie’s set and costumes; the enjoyable mix of late 60s and 70s music for the pre-show, and gripping original soundtrack from sound designer/composer Richard Feren; and Rebecca Picherack’s sharp, focused and atmospheric lighting design.

Betrayal continues at the Young Centre until September 25, the run was extended due to popular demand; advance tickets available online, or by calling the box office at 416-866-8666 or 1-888-898-1188. This is an extremely popular production, with a packed house on a Tuesday night, so advance booking is strongly recommended.

ICYMI: Jordy Kieto interviews director Andrea Donaldson about the production in Intermission Magazine.

Department of Corrections: In the original posting, I neglected to mention actor Paolo Santalucia’ performance as the Waiter; this has been corrected.

Hope & regret in the Village Players’ bittersweet, nostalgic The Glass Menagerie

Jacob Klick, Deena Baltman & Claire MacMaster. Set design by Alexis Chubb. Costume design by Livia Pravato-Fuchs, assisted by Marcella Pravato. Lighting design by Jamie Sample. Photo by John Ordean.

 

The Village Players open their 2019-20 season with Tennessee Williams’ The Glass Menagerie, directed by Victoria Shepherd and running at the Village Playhouse. A deeply autobiographical play, in memory of a beloved sister, it’s the story of a family’s struggles of identity and survival in a world mired in the Depression with another World War around the corner—bittersweet, nostalgic, and full of hope and regret.

Tom Wingfield (Jacob Klick) is both narrator and participant in this tale as he invites us into the world of the small St. Louis apartment where he lives with his mother Amanda (Deena Baltman) and sister Laura (Claire MacMaster). The Wingfield patriarch has been absent some 16 years—a “telephone man who fell in love with long distance”—his ever watchful, smiling face aglow in a frame on the living room wall. It is 1937, and America has been struggling through the Great Depression, with WWII a couple of years away.

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Deena Baltman & Claire MacMaster. Set design by Alexis Chubb. Costume design by Livia Pravato-Fuchs, assisted by Marcella Pravato. Lighting design by Jamie Sample. Photo by John Ordean.

Profoundly restless and bored with his job in a shoe factory warehouse, Tom finds escape and second-hand adventure in the movies and in books; and squirrels himself away at work during lunch breaks, writing poetry. At home, he snatches brief moments of solitude and reflection as he smokes on the fire escape; and hatches a plan to join the Merchant Marine and get away for some real adventures. Meanwhile, a desperate but hopeful Amanda—ever navigating the challenges of keeping the body and soul of the family together—longs for a successful and happy future for her children, even as she criticizes and directs their actions. Retreating into moments of nostalgic reverie as she recalls her days popularity and hosting numerous beaux in the rural south, she is clearly troubled; a fish out of water—and out of time—in their urban Delta home. And the painfully shy Laura—who would likely be diagnosed with social anxiety today—prefers her rich world of imagination and light. Self-conscious about her limp and anxious about how others see her, she finds sanctuary from an outside world that is too overwhelming to bear as she escapes into her glass collection.

Concerned that her daughter’s fragile, anxious soul is unable to manage a career as a secretary, Amanda shifts focus onto finding Laura a suitable husband, and enlists Tom’s aid to find a beau for Laura. He invites co-worker Jim (John Shubat), a former high school golden boy known to both Tom and Laura, over for dinner. Laura had a crush on Jim in high school, and the hopes and dreams of this gentleman caller are met with a frank and unexpected reality check.

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John Shubat & Claire MacMaster. Set design by Alexis Chubb. Costume design by Livia Pravato-Fuchs, assisted by Marcella Pravato. Lighting design by Jamie Sample. Photo by John Ordean.

Nice work from the cast in this snapshot of familial hope, regret, loss and disappointment; moments of humour and tenderness bring take the edge off the brutal frankness and disillusionment of this world. Klick’s Tom is a study of restless detachment; dutifully bound to ensuring the family’s security as the man of the house, Tom is boiling inside—busting to get out and away, and to a life of his own. Baltman brings a desperate edge of optimism to Amanda, a woman whose life vacillates between memories of better times and the harsh realities of present-day existence. Longing for the gentler, civilized days of her bygone youth—a world that no longer exists—Amanda’s gay, energetic girlishness belies an exhausted, lost middle-aged woman grasping for purchase and hope in world she neither understands nor wants.

MacMaster adds a hint of irreverent spunk to the otherwise fragile, introverted Laura. Losing herself in a world of light and magical creatures, Laura finds a sense of safety and belonging from the world outside their apartment. And Shubat’s Jim is the picture of affable charisma and confidence, tempered by the world weariness of a young man who peaked in high school. Jim has high hopes for the future; aiming for a career on the ground floor of television, he represents hope for the Wingfield family; and a high-energy, forward-thinking future where popularity and showmanship are bound to succeed.

In the end, all of these characters are misfits in his/her own way; lost and searching for a way to be in a changing modern world. And, to varying degrees, each is struggling to keep the pain of disappointment from turning into the paralysis of discouragement. The world seems to be made for the popular and confident, with higher value placed on the traditional markers of status and success than on more imaginative and unique qualities—where unicorns are encouraged to be just like the other horses.

With shouts to the design team for their work on bringing this world of fading memory to glowing life. Alexis Chubb’s homey domestic set, revealed by the opening of sheer curtains, nicely complimented by Jamie Sample’s lighting design; John Stuart Campbell’s sound and music design, incorporating popular music of the time and haunting, crystalline original compositions (featuring Vivien Shepherd on vocals) as it conjures the music hall across the alley and complements the emotional tone; and Livia Pravato-Fuchs’ (assisted by Marcella Pravato) period costumes, transporting us to both 1937 and Amanda’s youth.

The Glass Menagerie continues at the Village Playhouse until September 28. Advance tickets available online or by calling 416-767-7702.

Foolish destruction & a chance for redemption with a contemporary twist in the haunting, playful The Winter’s Tale

Back to front: Richard Lee & Eponine Lee. Scenography by Claire Hill. Lighting design by Jareth Li. Photo by Dahlia Katz.

 

Back to Withrow Park last night for more outdoor Shakespeare excellence, as community-connected, entertaining and accessible Shakespeare in the Ruff opened their adaptation of The Winter’s Tale last night. Adapted by Sarah Kitz with Andrew Joseph Richardson, and directed and choreographed by Kitz with assistant director Keshia Palm, this haunting, playful production gets a contemporary twist. When a king’s jealous suspicions get the better of him, he destroys his family and a childhood friendship—and while those around him navigate the fallout, there may be room for redemption as Time passes and hearts change.

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Tiffany Martin & Jason Gray. Scenography by Claire Hill. Lighting design by Jareth Li. Photo by Dahlia Katz.

Jealousy and suspicion come to a boil in the mind of King Leontes of Sicilia (Richard Lee, in a passionate, compelling performance as a powerful, yet fearful man), and he convinces himself that his wife Hermione (a regal, heartbreaking Tiffany Martin) and visiting childhood best friend King Polixenes of Bohemia (an affable royal turn from Jason Gray) are lovers—and the child she carries isn’t his. He orders his servant Camillo (Kaitlyn Riordan, in a role that showcases her nuanced adeptness with comedy and drama) to poison Polixenes; troubled by her King’s directive and unable to carry out the deed, she and Polixenes flee Sicilia. Hermione is imprisoned and gives birth to a daughter, which loyal courtier and friend Paulina (played with fierce, grounded kindness by Jani Lauzon) presents to Leontes, in hopes of melting his heart. Unmoved, he banishes the infant to the wilderness. Hermione is put on trial by and found innocent by the Oracles; but in the meantime their son Mamillius (Eponine Lee, adorably precocious and haunting in this role) dies and, overcome with heartbreak, she too dies. Left alone with no heir, his family’s blood on his hands, and his best friend and ally forever severed from him, Leontes falls into despair.

The second half takes us forward in time, 16 years later, where Bohemian Prince Florizell (Giovanni Spina, bringing tender bashfulness and resolve to the romantic young suitor), son of King Polixenes, woos and marries the young shepherdess Perdita (played with independence and resilience by Andrea Carter). Polixenes and Camillo witness the wedding in disguise, and Polixenes reveals himself to soundly forbid the union of his son to a peasant; once again, the tender-hearted Camillo comes to the rescue and helps the young couple flee to Sicilia. As all gather in Sicilia, the two halves of this story converge— bringing revelations, and a chance for reunion and redemption.

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Andrea Carter & Giovanni Spina. Scenography by Claire Hill. Lighting design by Jareth Li. Photo by Dahlia Katz.

Lovely work from the ensemble in a production that is as playful and entertaining as it is powerful and poignant; incorporating a live soundscape of Time’s tick tock, bell toll rhythm; and a beautiful lullaby shared between mother and son that becomes an eerie refrain as the young boy continues to observe the proceedings even after his death (sound design, composition and lyrics by Maddie Bautista). Everyone does multiple roles here, with the comic antics of Lauzon (Old Shepherd) and Richard Lee (Clown), and Martin’s loveable scallywag servant Autolycus—not to mention Eponine Lee’s Bear—bringing the necessary comic relief to these otherwise intense and tragic events. And Martin delivers a heart-wrenching, inspirational account of a woman’s struggles, resistance and resilience as she travels far from home and back again—an everywoman’s voice throughout the ages that resonates—inspiring us to view this tale through a contemporary lens.

A cautionary tale of how suspicion and fear can turn an otherwise good leader into a tyrant; and how those who care about him can have the courage and wisdom to try to make things right.

The Winter’s Tale continues at Withrow Park, running Tuesdays through Sundays at 7:30 p.m. until September 2, including a special Labour Day performance on September 2. Advance tickets and lawn chair rental are available online; otherwise, tickets are pay what you can (PWYC) at the park on the night of the performance.

Click here for accessibility info. And you can get rain updates here on their Twitter account.

Deconstructing art & friendship in the razor-sharp, scathingly funny Art

Diego Matamoros, Oliver Dennis & Huse Madhavji. Set design by Gillian Gallow. Costume design by Dana Osborne. Lighting design by Bonnie Beecher. Photo by Dahlia Katz.

 

Soulpepper gives us a fly-on-the-wall look at how a debate on the merits of post-modern art turns to an exercise in deconstructing friendship in its razor-sharp, scathingly funny production of Yasmina Reza’s Art, translated by Christopher Hampton and directed by Philip Akin, assisted by Daniel Spragge. The cerebral and emotional responses to a newly acquired painting set off intense and surprising ripples, impacting the relationship of three friends. Art opened to an enthusiastic crowd at the Young Centre last night.

Serge (Diego Matamoros) is very excited and happy about a new painting he’s just purchased and proudly shows it off to his friend Marc (Oliver Dennis), who despite attempts at a tactful response, laughs and proclaims it to be shit. And not only that, Marc is extremely concerned about Serge—for spending a ridiculous amount of money on a painting that he believes to be worthless, and for possibly turning into a poser. Looking for a second opinion on the interaction, Serge and Marc individually approach their friend Yvan (Huse Madhavji), using him as a sounding board as they relate their description of what transpired.

Yvan is more tolerant and accepting of choices and differences, he doesn’t see what the big deal is. Plus, he’s got problems of his own to deal with—namely, the wedding planning hell he’s navigating with his fiancée and their respective parents and step-parents. And when he gets his own unveiling of the piece, he doesn’t like it—but he also doesn’t hate it either—and respects Serge’s choice.

The debate between friends on the merits of the painting and post-modern art in general  turns into a deconstruction of their relationship, whereby barbed quips become savage accusations and revelations. Brutal honesty on steroids unveils hidden jealousies, revulsion—and even a heated battle for dominance in friends’ social and intellectual lives.

Excellent work from this three-hander cast in this hilarious and revealing look at art and friendship. It’s delightful to watch the child-like level of glee and enthusiasm with which Matamoros’s Serge unveils his painting to his friends, navigating sight lines and pondering the canvas, hand on chin; this coupled with the pride of a burgeoning art collector who’s acquired an important work. With the heart of a philosopher and more than a few hints of a status-seeker, Serge is a complex man. Dennis brings an amiable but somewhat aloof air of precision and worldliness to the urbane Marc; a fan of the classics, Marc looks with withering skepticism upon modernity in art and lifestyle—and any whiff of the poseur is met with great derision and suspicion. Marc’s vehement opposition to and concern over Serge’s purchase of the painting is obviously masking something deeper about their relationship. Madhavji is a treat as Yvan, the understanding and open-minded friend in the middle who laughs with, as opposed to at, the situation; the Switzerland of the trio, Yvan often acts as an umpire for his two friends. Accused of being disingenuous, a doormat and a coward, he’s able to see both sides of the argument and feels no need to dominate his relationships—he just wants to be a good friend and husband.

A savage comedy of manners, Art is a compelling exploration of how a response to outside stimuli (in this case, a painting) can trigger a deeper, visceral reaction to those closest to us. Passions flare with biting criticism and conflict, only to be salvaged by good humour, good nature and agreeing to disagree.

Art continues at the Young Centre until September 1; advance tickets available online, or by calling the box office at 416-866-8666 or 1-888-898-1188.

SummerWorks: Pick-up artistry meets consent culture in the hilarious, disturbing, eye-opening Safe and Sorry

Lauren Gillis. Photo by Peter Demas.

 

Lester Trips Theatre presents a provocative multimedia workshop production of the hilarious, disturbing, eye-opening Safe and Sorry. Co-created and performed by Lauren Gillis and Alaine Hutton, co-performed and choreographed by Angela Blumberg, and directed by Chelsea Dab Hilke, we’re invited into the world of Keith Much, who leads workshops aimed at helping men with their dating and pick-up game. His process, a combination of pick-up artistry and consent culture, amasses a lot of fans; it also finds detractors—and Keith begins to see the darker side of male desire as he reads the comments on his message board. Safe and Sorry had its second performance in the Franco Boni Theatre at The Theatre Centre last night.

The audience becomes part of a Keith Much (Lauren Gillis) dating workshop, where our affable facilitator mixes up quick lecture bites with Q&A and one-on-one sessions on stage with a variety of participants (Alaine Hutton)—from overly enthusiastic bro’s like Mike to painfully shy dudes like Stu. His unorthodox methods make for hilarious, but instructive moments, as he teaches men about respectful approaches, consent, body language, verbal and non-verbal cues, personal hygiene and kissing.

Keith’s helpful and progressive teachings aim to make sure that both the man and woman are having good, safe, sexy fun times; but as his popularity grows and his message board gets more traffic, so too do the darker responses from the toxic masculinity side of the straight male spectrum. And he comes face to face with the dark side when an aggressive, frustrated participant disrupts a workshop Q&A, forcing him to call a break have a sit-down with the guy. This man wants to find a wife, settle down and have a family, but finds women only want to party and will dump a good guy like him for the next best thing. Angered and entitled, he believed that his excellent socioeconomic status would make a difference, but it isn’t; and he eventually identifies as incel. The toxic responses online begin to turn on Keith, as some of these men begin to question his credibility.

In between workshop scenes, we see a trailer for a movie (film design by Peter Demas, with lighting and video design by Wesley McKenzie, nicely supported by Steven Conway’s music arrangement/performance) in which four men (played by Gillis and Hutton), unknown to each other, have been abducted and chained up in a concrete bunker. As they try to figure out why they’ve been taken, they realize what they each have in common: they’ve all committed rape—and the psychological thriller scenario implies that a woman (or group of women) is out for revenge. And while the men in the trailer are forced to confront what they’ve done, women are placed in the position of being a threat, the enemy—this becomes a parallel of sorts to the dark side views that Keith sees emerging in his message board comments.

Excellent work from Gillis and Hutton in this multimedia, multi-layered trip into the male psyche from a consent culture perspective. Gillis is amiable, warm and confident as Keith; knowledgeable, professional and helpful, Keith creates a safe, supportive environment for men to share their issues, work out problems and improve their dating game. Hutton’s multi-tasking role as the various workshop participants ranges from the hilarious and goofy, to the extremely awkward and shy, to the everyday, to the angry, entitled and menacing. The movie trailer adds an interesting level to this exploration of male desire and toxic masculinity, but it’s the interaction between Keith and the men, especially the incel guy, that makes for the most powerful and compelling moments. Looking forward to seeing the evolution of this timely, thought-provoking piece; part two of Safe and Sorry is coming Spring 2020.

Safe & Sorry has one more performance in the Franco Boni Theatre at the Theatre Centre: August 16 at 5:00 p.m. Tickets available online or in person at the box office; it’s a very short three-show run, so advance booking or early arrival at the venue is recommended.

SummerWorks: Relationship wisdom from the mouths of babes in the playful, surprising & moving CHILD-ISH

Photo by Graham Isador.

 

Sunny Drake and the CHILD-ISH Collective present a work-in-progress presentation of CHILD-ISH, written by Drake, and directed by Alan Dilworth and associate director Katrina Darychuk—and running in the Franco Boni Theatre at The Theatre Centre. Exploring the theme of relationships from various angles, CHILD-ISH is a piece of verbatim theatre created by an intergenerational group of adult and child interviewers, dramaturgs, performers and facilitators—putting the words of children aged five to 11 into the mouths of adults, with hilarious, surprising and moving, as well as playful and wise, results.

Entering with a flourish, the adult ensemble (Walter Borden, Maggie Huculak, Sonny Mills, Zorana Sadiq and Itir Arditi) acts out interview chats and scenes on relationships—love, consent, old age, losing a loved one and bullying—based on the kids’ shared thoughts, ideas, stories and feelings, with subject matter projected upstage as surtitles. Playful, wise and surprising, the kids express—via the adults—flexible and innovative ideas about marriage and family units (e.g., if you were allowed to marry more than one person, it would make the division of household and outside labour more efficient). Thoughts about love, kissing and consent are savvy, matter of fact and exploratory—and fearlessly so. One kid mentioned that they’re non-binary, stating a preference for they/them pronouns; and how, while misgendering bugs them, they make allowances for people to get used to it.

The dialogue is frank, open and surprisingly insightful—and the thoughts and ideas emerge as playfully as in any physical game. Hilarity often ensues in the juxtaposition of adults speaking the words of children, but then once in a while, something catches your attention that makes a lot of sense. And you may find yourself wishing that adults could think and be more like kids sometimes. In contrast, the harassment and bullying experiences/responses are heartbreaking as you recognize that, even though adults are relating them, these thoughts and feelings are coming from kids.

Joined by three kids at the end (I’m guessing these are young facilitators Sadie Kopyto Primack, Elora Gerson and Owen Ross), the actor/facilitator group movement piece is both beautiful and moving. Following this, the audience is invited to join in reading the Kidifesto, also projected upstage. It was during these moments that I was moved to tears.

Joyful, curious, authentic and open—in laughter, pain and uncertainty—we could all learn a lesson or two from the wisdom of kids in CHILD-ISH and in our everyday lives.

With shouts to Director of Child Engagement Jessica Greenberg; young dramaturgs Eponine Lee, Sumayya Iman Malik and Ozzy Rae Horvath; adult dramaturg Brian Quirt; and young co-interviewer Mia McGrinder; as well as the small army of child collaborators, consultants, development partners and champions who made this presentation possible. I look forward to seeing where this goes next.

Child-ish has one more performance in the Franco Boni Theatre at the Theatre Centre: August 14 at 8:30 p.m. Tickets available online or in person at the box office; it’s a very short three-show run and last night’s performance was sold out, so advance booking is a must.