NSTF: Giving the last word where last word’s due in the startling, sharply pointed, satirical JONNO

Jason Deline and Erica Anderson in JONNO. Costume design by Christina Urquhart. Set design by Chandos Ross. Lighting design by Steve Vargo. Photo by Dahlia Katz.

 

Rabbit in a Hat Productions presents Alix Sobler’s JONNO, directed by Paul Van Dyck for the Toronto Fringe Next Stage Theatre Festival, running now at Factory Theatre.

JONNO was inspired by a famous sexual assault case that saw a popular Canadian radio personality put on trial—we all know who—and comes in the wake of subsequent sexual harassment and assault scandals that have called out Hollywood celebrities and, most recently, a prominent Canadian theatre artistic director. Delving into the mind of the perpetrator and providing a platform for the myriad complex responses from, and impact on, the survivors—the play speaks beyond any one particular case.

Jonno (Jason Deline) hosts a popular talk radio show; his rich, full tones open the episode with a spoken word essay, and his charming interview style doesn’t shy away from confrontation. One by one, we see his romantic encounters with women turn violent: feminist blogger Marcy (Erica Anderson), singer/songwriter Dana (Parmida Vand) and sex worker Bernadette (Glenda Braganza). The only witness is Mr. Donkey Long Ears (Allan Michael Brunet), a stuffed toy from his childhood who he shields from seeing too much.

When word of his actions goes public, he is visited by Maureen (Alanis Peart), a corporate rep from his employer who has some exploratory and pointed personal questions to ask. A self-professed feminist and lover of women, Jonno genuinely sees nothing wrong with what he’s done—he sees his sexploits as being simply imaginative and out of the ordinary.

The women he choked, hit, kicked and coerced into sexual activity would say otherwise. But, unlike Jonno, who’s perfectly clear and happy to rationalize the events surrounding the encounters, the women are left wondering what the fuck happened and try to make sense of it all as they second guess, struggle with self-doubt and give him second chances. And while the responses of the women are different, all are valid as they play over events in their minds and debate the situation with each other.

The shocking moments of sexual violence are balanced nicely by satirical scenes of corporate investigation, surreal conversations between Jonno and Long Ears, and some darkly funny girls’ night out debates over wine. And the imaginative, effective staging aptly illustrates the serial nature of Jonno’s behaviour, while creating space for the more playful, theatrical elements of the piece.

Amazing work from the cast on this sensitive and infuriating subject. Deline does a great job with the public and private faces of Jonno: the smooth-talking, accomplished, pro-woman radio host and the callous, violent and sociopathic misogynist. Brunet makes an excellent Long Ears; inspired by Eeyore from Winnie the Pooh, he is sweetly droopy and sulky—and acts as both witness and counsellor to Jonno’s actions. A childhood toy/imaginary friend, he is Jonno’s displaced conscience and child-like innocence—even, perhaps, humanity.

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Alanis Peart, Jason Deline & Allan Michael Brunet in JONNO. Costume design by Christina Urquhart. Set design by Chandos Ross. Lighting design by Steve Vargo. Photo by Dahlia Katz.

The women in the cast make for a powerful unit of their own. Like Jonno, these characters are attractive, intelligent and accomplished in their own right—and each takes the journey from victim to survivor in her own way. Philosophical and lyrical, Vand’s Dana strives to gain an understanding through conversation with Jonno. Anderson’s wide-eyed activist Marcy thrives in dialogue with fellow survivors—and finds her inner warrior as a result. Braganza’s Bernadette is sensuous, irreverent and outspoken; surprisingly conservative, Bernadette is a reminder to not judge a book by its cover. And Peart is a hilarious powerhouse as the mercurial, assertive Maureen, who fights fire with fire when she puts Jonno in the hot seat.

With shouts to the creative team for bringing this starkly real and magical world together: Christine Urquhart (costume), Chandos Ross (set), Steve Vargo (lighting), Richard Feren (composer and sound), and Jade Elliot (fight and intimacy coordinator).

In the end, while we may be able to muster a modicum of sympathy for the devil, we believe the women—and whatever personal history or demons Jonno may have do not excuse his actions.

Giving the last word where last word’s due in the startling, sharply pointed, satirical JONNO.

JONNO continues in the Factory Theatre Mainspace till January 14; for exact dates/times and advance tickets, visit the show page.

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Raw, real, funny & socially astute – Soup Can Theatre/safeword/Aim for the Tangent Theatre Co-pro Circle Jerk

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Playwright/director Brandon Crone (Maypole Rose – safeword)

Was back out to the Spadina/Queen West neighourhood last night to see the Soup Can Theatre, safeword and Aim for the Tangent Theatre co-production Circle Jerk at lemonTree studio (196 Spadina Ave., just north of Queen St. West).

Featuring four short, new plays, the production provided some interesting instructions to playwrights: they were to use selected lines of dialogue – submitted by the public (almost 300 submissions) – as the opening and closing lines of their plays (with the closing line of one play also serving as the opening line of the next play). The four selected lines were:

“Subtlety is not your specialty.”
“What’s Bulgarian for slut?”
“I think it’s time we talked about your filthy rituals.”
“I fucking hate potatoes.”

Throw in the tagline: Sex. Death. Bananas. and, along with the cyclical structure – a round robin of short plays that literally play off of each other, one tagging another – and there’s the title of the production.

Dust Peddling: Part II (Soup Can Theatre), by Scott Dermody and directed by Joanne Williams. Have you ever had an orgasm? A bed. A man. A woman. Erotic and poetic, physical theatre meets verse and prose in this beautifully edgy and lyrical hybrid piece, where the words are dialogue, foreplay and more. Lovely, candid work from actors Dermody and Lisa Hamalainen.

Sex and This (Aim for the Tangent Theatre), by Wesley J. Colford and directed by Jakob Ehman. What the actual fuck?! Two energetic young urban women getting ready for a themed costume party at a friend’s house are interrupted by some dire news. Facebook and text-reliant Millennials deal with communicating loss. Darkly funny, poignant and truthful performances from Tiffany Deobald and Carys Lewis.

Maypole Rose (safeword), written and directed by Brandon Crone. Two fags, a potent fatty and a bag of junk food. A young married, health-conscious gay couple indulge in stoned monkey lovin’ and junk food consumption. A frank fly-on-the-wall look at a relationship – workaday inanity, bedroom rituals, gender roles, secrets and all. Sexy, raw, tender and funny, with fabulous and honest performances from Alexander Plouffe and G. Kyle Shields.

The Session (Soup Can Theatre), written and directed by Justin Haigh. When under extreme pressure, everyone has his/her breaking point. A workplace counselling session goes to some very dark places as the plant therapist (Matt Pilipiak) and nuclear safety expert (Allan Michael Brunet) work through their introductory meeting. Brunet and Pilipiak do a remarkable job with the back and forth of power/control and vulnerability/fragility, as well as the dramatic tension and dark humour of the piece.

Circle Jerk also features live music inspired by the four lines of dialogue: Subtlety is not Your Specialty by Marla Kishimoto, What’s Bulgarian for Slut by Soup Can Theatre’s Music Director, Pratik Gandhi, I Think it’s Time We Talked About Your Filthy Rituals by Peter Cavell, and I Fucking Hate Potatoes by Patricia Stevens. Directed by Gandhi, the five-piece mini-orchestra includes an upright bass, cello, clarinet, flute and keyboard. The pool of musicians includes Katie Saunoris, Subrina Sookram, Ainsley Lawson, Rachel Gauntlett, Cory Latkovich, Matteo Ferrero-Wong, Brandon Sked and Susan Kim. Lighting on intense, whimsical and cultural flavour – from a piece featuring a hilariously bad (on purpose), yet passionate, clarinet solo to a jolly Irish-inspired tune that turns into a meltdown – the music mirrored and enhanced the theatrical content perfectly.

Sometimes a banana isn’t just a banana. Circle Jerk is a raw, real, darkly funny and socially astute set of short new plays, combining a trio of fine local indie theatre companies with crowd-sourced creativity and multidisciplinary talent. So get yourself out to lemonTree studio and go see this.

Circle Jerk continues its run at lemonTree studio tonight (Nov 15) and tomorrow (Nov 16), and this coming week from Nov 21 – 23; all performances at 8 p.m.