Portrait of a family in messy, human shades of grey in the intimate, intense, complex What I Call Her

Charlie Gould & Ellie Ellwand. Lighting design by Imogen Wilson. Photo by Dahlia Katz.

 

In Association—which led a sold-out production of Ellie Moon’s Asking For It last season—partners with Crow’s Theatre once again, this time with the world premiere of Moon’s intimate, intense and complex What I Call Her, directed by Sarah Kitz and opening to a sold-out house at Streetcar Crowsnest last night. Exploring a family dynamic of abuse, estrangement, grief and reconciliation, What I Call Her gives us the messy—ultimately human—blacks, whites and greys of family relationships shaped by trauma, conflicting memory and divergent lived experiences.

Estranged from her mother and younger sister Ruby, and recovering from childhood abuse at the hands of her mother, English MA student/writer Kate (Charlie Gould) now finds herself navigating the myriad mixed emotions of her mother’s impending death. Triggered by her mother’s distant death bed, as well as her mother’s startlingly contrasting history of abuse, abusive behaviour and philanthropy for survivors, Kate starts writing a frank obituary for her mother. Her supportive, live-in boyfriend and women’s ally Kyle (Michael Ayres) acts as her anchor, sounding board and Devil’s advocate on the idea of posting it on Facebook.

When Ruby (Ellie Ellwand) surprises them with a late-night arrival at their apartment, the family conflict—in particular, Ruby’s contradictory and hugely different experiences of childhood and their parents—gets too close to home. While Ruby’s appearance sparks Kate’s rage over the family’s denial of her experience, she’s got some anger to unpack as well; and the sisters face-off over their shared history and their mother’s desire for a death bed reunion and subsequent redemption.

The finely-tuned three-hander cast of What I Call Her plays out the various levels of family conflict in a series of contrasts—in moments of quiet and explosion, trauma and comfort, remembering and forgetting—turning the blacks and whites of family history, memory and corresponding emotional/psychological responses into complex, messy and profoundly human shades of grey.

What I call her 1 - Michael Ayres, Charlie Gould - by Dahlia Katz
Michael Ayres & Charlie Gould. Lighting design by Imogen Wilson. Photo by Dahlia Katz.

Gould’s broken, neurotic, sharply intelligent Kate can be self-involved, but also self-aware; and Kate’s self-professed knack for hyperbole is matched only by her lonely, hopeless sense of familial gaslighting. As Ruby, Ellwand is both adult and baby sister; brutally honest and perceptive, but needing support and validation. While Ruby’s directness with Kate tends toward cruelty, she desperately needs Kate right now. And Aryes’ Michael is that sweet, #MeToo woke good guy you want to see your sister with. Michael’s calm, quiet demeanour is a perfect foil to Kate’s mercurial outbursts of emotional activity—but, caught in the middle of and pushed away from this family war, and exhausted from keeping Kate from spinning off, even he can only take so much.

It’s especially noteworthy that Kate and Ruby’s mom, who is a fourth but unseen character in this piece, has a history of family abuse—both she and her own mother are survivors. And while it’s no excuse for her verbal and physical abuse of Kate, it’s a reason. The Kates of the world need be able to tell their stories; and as contradictory to the experiences of other family members and painful as these stories may be, they need to come out so real reconciliation and redemption can begin.

What I Call Her continues at Streetcar Crowsnest until December 8; advance tickets are available online. It’s an intimate venue and the show is getting a lot of well-deserved buzz, so booking ahead is strongly recommended.

 

 

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Secrets & dark suspicions in the eerie, Gothic family drama Gripless

GriplessCastBWStanding: David Huband & Amber Mackereth. Seated: Margaret Lamarre.

 

Green Garden Equity Artist Collective gives us a disturbing tale of family secrets and dark suspicions in Deborah Ann Frankel’s eerie family drama Gripless; directed by Frankel and on now for a short run at Red Sandcastle Theatre.

On a stormy night in a small town, brother Ben (David Huband) and sister April (Amber Mackereth) bring their mother Elaine (Margaret Lamarre) home from a birthday celebration dinner in honour of their deceased father Daniel. Uncomfortable and anxious to leave, intimidating younger sister April appears to be the alpha to her more easy going older brother. But try as they might to leave their family home, something Elaine says keeps drawing them away from the door and back into the living room.

As the action unfolds, we learn that Elaine remarried about a year after Daniel’s death; an abusive brute of a man named Tim, who recently had a stroke. We get the sense that there are some uncomfortable unsaid truths in the closet of this family’s history; and memories shift from nostalgic reverie and childhood shenanigans to disturbing discoveries and suspicions—hinting at a troubling and violent dynamic.

Compelling work from the cast in this unsettling, spooky story of family dysfunction and conflicting perspectives. Lamarre’s Elaine is damaged, adrift and also manipulative; poignant yet unsettling, Elaine’s selective memory targets only the happy moments and she seems oddly disconnected from what’s happening right in front of her. As April, Mackereth’s tough-talking, bully exterior masks a deeply hurt, vulnerable child; unforgiving with her mother, April has tender feelings for her big brother, the only one who’s ever been on her side. Huband’s Ben is the perfect foil for Mackereth’s April; wry-witted, quiet and introspective, Ben is clearly the peacemaker in the family—but even his easy-going demeanour gives way to moments of haunted reflection.

Writer/director Frankel, who folks will recognize as Red Sandcastle’s intrepid SM, will be taking over as General Manager when AD Rosemary Doyle heads to Kingston in August as the new AD of Theatre Kingston; multitasking in this production, she’s also juggling box office and SM duty in booth—and created one heck of a dark, atmospheric set and soundtrack.

Gripless has two more performances at Red Sandcastle Theatre: tonight (July 22) and tomorrow (July 23) at 8 p.m.; book tickets in advance at deborahannfrankel@gmail.com or pay cash at the door.

Toronto Fringe: An intersectional heart-to-heart on the state of manhood in the candid, funny, brave We The Men

Sunday Muse, Mercy Cherian, Rachel Brophy & Sundance Nagrial. Photo by Dahlia Katz.

Sam’s having the guys over at his cottage—and we’re all invited!

The back room stage of the Cadillac Lounge is transformed into the living room of Sam’s cottage as Soulo Theatre takes us behind the scenes of a heart-to-heart gathering on the state of manhood with its Toronto Fringe production of We The Men. Co-created by director Tracey Erin Smith and an ensemble of Dude for a Day workshop participants, and inspired by hearing men’s stories during Soulo Theatre’s Step To The Line events, women portray male characters—and the sexes come together from the other side of the gender divide in the hopes of bridging the gap and coming to a greater understanding.

The storytelling, which includes stories that emerged from male Step To The Line participants, draws on important and timely ongoing issues: Debates about complicity—direct or indirect—in #MeToo scenarios; societal, familial and cultural challenges and pressures; physical abuse and bullying; and struggles with identity, sexuality, loneliness and finding love. Heartfelt anecdotes and confessions emerge from the cocky, fart-filled party atmosphere as the men confront themselves and each other with their experiences, beliefs and perceptions—giving us a fly-on-the-wall perspective of men’s lives. And one is struck that, while women will naturally open up and have these kinds of conversations—revealing shame, vulnerability and confusion—it’s maybe not so easy or as common for men. And we all need to have those conversations.

Featuring energetic, entertaining and poignant performances from Rachel Brophy, Mercy Cherian, Jacqueline Dawe, Savoy Howe, Sunday Muse, Sundance Nagrial, Silvi Santoso, Savannah Binder and Todd, We The Men is a candid, funny and brave intersectional exploration of what it means to be a man in the 21st century.

We The Men continues at the Cadillac Lounge until July 15; check the show page for exact dates and times. For the inside scoop on the inspiration and creative process, check out this great interview with Tracey Erin Smith by She Does the City. And check out the show’s Facebook event page for bios and character descriptions.

A journey into the wasteland of a serial killer’s mind & the possibility of forgiveness in Seven Siblings’ chilling, heartbreaking Frozen

Scott McCulloch, Nancy McAlear & Madryn McCabe. 

 

Is it possible to forgive a man who has murdered a child? The stuff of every parent’s nightmare becomes an opportunity for reconciliation and forgiveness as a forensic psychologist offers her thesis on the minds serial killers in Seven Siblings Theatre’s compelling, moving production of Bryony Lavery’s Frozen. Directed by Will King, Frozen opened last night at the b current Studio Theatre at Artscape Wychwood Barns.

American forensic psychologist Agnetha (Madryn McCabe)—who has a fear of flying and some emotional turmoil of her own to deal with—is on her way to London, England to give a lecture on her thesis and interview a new subject: serial killer Ralph (Scott McCulloch). We also meet Nancy (Nancy McAlear), a mother whose 10-year-old daughter Rhona went missing on her way to her grandmother’s over 20 years ago.

Shifting into the past and returning to the present, we learn the details of Rhona’s disappearance. Nancy’s sullen teenage daughter Ingrid refuses to go to her grandmother’s, as it involves gardening work, so Nancy sends Rhona instead. Ralph sees an opportunity and takes it. As these flashbacks include both Nancy and Ralph’s points of view, we get devastating and alarming accounts of the events that led to the loss of this loved girl.

Agnetha, along with neuroscientist colleague David (voice-over by Jim Armstrong), has collected evidence that suggests abuse, neglect and brain trauma permanently alter the brain structures of serial killers, rendering them unable to control their actions. And, as these people—mostly men—are ill, and not evil monsters, can we not therefore forgive them?

In the early years following Rhona’s disappearance, Nancy throws herself into activism work with an organization dedicated to finding missing children and reuniting them with their families. Living in hope and denial, she believes in her heart that Rhona is still alive. Her hopes are dashed when she learns that police have taken Ralph into custody for the attempted abduction of a girl; his tattoos betray his whereabouts on the dates and locations of other missing girls. Rhona’s remains are found, along with those of other victims and his collection of child porn videos, in his shed—in Nancy’s neighbourhood, close to home. Bringing Nancy, Agnetha and Ralph together, the tragedy of Rhona’s abduction and murder becomes a catalyst for personal journey and self-discovery—with unexpected and startling results.

Cerebral, visceral and spiritual, it’s a challenging piece for the ensemble, to say the least—and this cast rises to the occasion with layered, nuanced and compelling performances. McCabe is strikingly professional, deeply vulnerable and tender as Agnetha. Struggling to keep it together as she continues the work that she and David started, Agnetha must keep her own internal conflicts under control as she interviews Ralph and assesses whether it’s wise to allow Nancy to visit him. McAlear is a heartbreaking, determined warrior mother as Nancy. The glue that keeps her family together, Nancy must not only come to terms with the fact that Rhona isn’t coming back, but accept the long-term impacts on her family as each member grows up and even apart from her. And as something shifts in her own heart and mind, what will she say when she sees Ralph? McCulloch is both chilling and gruffly charming as Ralph; a master manipulator and liar, Ralph is disturbingly nonchalant about his proclivities and hunting habits. Forced to turn inward during his meetings with Agnetha, who’s told him that he can’t help himself due to his traumatic childhood and brain injury, what will he find?

Frozen in time, with only her bones left behind, Rhona reaches out to each of these characters. Can Agnetha and Nancy move on from their devastating losses? Frozen in a mind that dictates deviant desires and behaviour, can Ralph understand the hurtful impact of, and feel remorse for, what he’s done? Can we distinguish evil from illness—and what will we do with that understanding?

Heartbreaking, chilling and peppered with dark humour—and provocative in Agnetha’s thesis of the possibility of forgiveness for a serial killer—Frozen is an emotionally and intellectually turbulent ride. Staged with minimal set pieces—cubes that are stacked and moved with precision to create the space—with live sound by director King, Seven Siblings’ Frozen is both uncomfortable and revealing in its intimacy. Try as we may, we can’t look away.

Frozen continues in the b current Studio Theatre until June 3; advance tickets available online—a good idea given the limited seating in this intimate venue.

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

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

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

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

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

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

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

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

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

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Brenda Clews

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

Love in all its complex, messy, glorious forms in Love Between the Lines

Chelsea Riesz, Lisa Alves, Courtney Lamanna, Joella Crichton, Mercy Cherian & Cathy Huang—rehearsal photo courtesy of Jenna Borsato

 

HERstory Counts opened its second season at Red Sandcastle Theatre last night with Love Between the Lines, written and performed by the ensemble, and directed by Co-Artistic Producer/Co-Artistic Director Jennifer Neales, assisted by Ellie Posadas, with dramaturgy by Co-Artistic Producer/Co-Artistic Director Evangelia Kambites.

For those of you not familiar with HERstory Counts, it’s a company that produces true stories, performed by the creators themselves, offering a space to challenge and push past the ideals of the status quo. We feature and celebrate female-identified womyn of all backgrounds, all ages, all races, all histories, all sizes, all sexual orientations, and all abilities.”

Featuring autobiographical storytelling from six writer/performers, Love Between the Lines is an examination of love in its various forms and incarnations, each story weaving seamlessly in and out of the other. Joella Crichton’s exploration of the stages of grief following a break-up; Chelsea Riesz discovering sins of the father in her relationship dynamics; Cathy Huang’s love letter to a kindred spirit grandmother; Lisa Alves navigating identity and the complicated, close-knit ties with her mother; Courtney Lamanna connecting the dots as she recognizes and strives to break the cycle of abusive relationships; and Mindy Kaling doppelganger Mercy Cherian’s undying love for a dying, ever protective father.

Told with vulnerability, humour and courage, the storytelling is up close and personal—candidly revealing all the maddening, heartbreaking, messy struggle, comfort and elation of these relationships. Incorporating memory, personal insight and even confession, each actor plays out her truth on a bare stage; her story animated by the other actors, who deftly transform into parents, lovers, inner selves, a tarot card reader and even—most hilariously—goofy, fiercely protective street dogs in India. These stories move you to laughter, tears and even maybe your own a-ha moment. These stories resonate.

With shouts to Stage Manager Mariah Ventura, Creative/Production Assistant Robin Luckwaldt and Production Manager Jenna Borsato for their work on this production.

Love in all its complex, messy, glorious forms in Love Between the Lines.

Love Between the Lines continues at Red Sandcastle, with performances tonight, Saturday and Sunday night at 7:30pm, and a 2:30pm matinee on Sunday. Get your advance tickets online or purchase at the door half an hour before show time. Advance booking recommended; it’s an intimate space and last night’s opening was a packed house.

Keep up with HERstory Counts on Facebook, Twitter and Instagram.

Sin of the father in the deeply moving, spiritual, revelatory acquiesce

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Rosie Simon & David Yee in acquiesce – photos by Dahlia Katz

Factory Theatre joins forces with fu-GEN Asian Canadian Theatre Company to open Factory’s 2016-17 season of diverse voices speaking to the Canadian experience with David Yee’s acquiesce in the Factory Theatre Mainspace, directed by Factory Theatre A.D. Nina Lee Aquino.

Writer Sin Hwang (David Yee) struggles with moving beyond the success of his first novel and a troubled past with his estranged father Tien Wei (John Ng). Learning from his ex-girlfriend Nine (Rosie Simon) that his father has died, he finds himself being summoned to Hong Kong for the funeral by his cousin Kai (Richard Lee), who is acting as Tien Wei’s executor.

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Richard Lee, David Yee & Rosie Simon in acquiesce

Half Chinese, and with little knowledge of Chinese cultural tradition, and not able to speak or understand Cantonese, Sin soon finds himself adrift in culture shock as he learns from Kai that he has duties to perform as the eldest son. From there, Sin embarks on a reluctant journey of family, roots and spirituality as he navigates the traditional burial rites, as well as moments of memory, hallucinatory visions and symbolism that feature conversations with a ribald Paddington Bear, a hilariously insightful monk and his ex.

Lovely performances from the cast, with Ng and Simon playing multiple characters. Yee does a wonderful job mining Sin’s flippancy and arrogance for the repressed pain that lies beneath; with scars that go far beyond skin deep, Sin tries not to care but finds that he must – not just for his own sake, but for his father. As Sin’s cousin Kai, Lee brings a great combination of terse fastidiousness and tender care aesthetic; a stickler for propriety and rules, and with a dry humour that takes some getting used to, he has his own familial bitterness to deal with.

We don’t see much of Sin’s father Tien Wei, but Ng gives us a solid glimpse into a man who has his own demons to battle; a harsh, gruff and dark-humoured man, his last Will and Testament is his way of reaching out to his son across years of pain and separation. And Ng is a comedic delight in his quirkier, fun roles as Sin’s airplane seatmate and the frank, pithy, jokester monk. Simon’s Nine is quick-witted and frank; a lovely, supportive girlfriend but no doormat to Sin, she tells it like it is and will only take so much of his self-absorption. Simon brings the comedy as the stern librarian and the overly cheerful funeral home attendant.

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John Ng & David Yee in acquiesce

With shouts to Robin Fisher’s set and Michelle Ramsay’s lighting design; austere and monolithic, the set features some cool, practical sliding drawer furniture pieces, the lighting adding to the otherworldly atmosphere as it highlights the scenes. And to Michelle Bensimon’s beautifully haunting, evocative composition and sound design.

Sin of the father in the deeply moving, spiritual, revelatory acquiesce.

acquiesce continues in the Factory Theatre Mainspace until Nov 27; advance tix and ticket info available online.

You can keep up with Factory Theatre on Twitter and Facebook; and with fu-GEN on their Twitter and Facebook pages.