The power of love, music & colour in the visually rich, magical, ground-breaking The Black Drum

Corinna Den Dekker, Dawn Jani Birley, Yan Liu & Daniel Durant. Set & props design by Ken Mackenzie. Costume design by Ruth Albertyn. Makeup by Angela McQueen. Video & projection design by Laura Warren. Lighting design by Chris Malkowski. Photo by Dahlia Katz.

 

Commissioned and produced by the Canadian Cultural Society of the Deaf, the Deaf Culture Centre presents the world premiere of Adam Pottle’s Deaf musical The Black Drum,* in partnership with Soulpepper at the Young Centre. Directed by Mira Zuckermann, assisted by Jack Volpe, with movement and choreography by Patricia Allison, The Black Drum combines signed music, dance, movement and projected imagery to tell the story of a woman’s journey through loss and grief to find the power of her inner music, as her tattoos come to life and launch her into a strange, dark world dominated by a sinister force. The result is a visually rich, magical and ground-breaking piece of storytelling.

As the story begins, we are introduced to the Minister (Bob Hiltermann), a sinister and controlling presence who dominates a world devoid of music, laughter, love and freedom. Meanwhile, performing artist Joan (Dawn Jani Birley) is reeling from the loss of her beloved wife Karen (Agata Wisny), inconsolable as her roommates Bree (Yan Liu) and Oscar (Daniel Durant) try to reach through her grief. Propelled into the world of the Minister, Joan’s tattoos Butterfly (Liu) and Bulldog (Durant)—beauty and strength—come to life.

In this dark, grim and desolate place, Joan encounters the Minister’s reluctant lieutenant Squib (Natasha C. Bacchus) and Ava (Corinna Den Dekker), who dances with a group of children (Jaelyn Russell-Lillie, Sita Weereatne and Abbey Jackson-Bell). Ava tells Joan that the Minister controls this world, a place between life and death, with magic—his black drum (drum accompaniment by Dimitri Kanaris), the embodiment of his empty black heart. And Joan also learns that Karen is the Minister’s prisoner. Charged with using her colour and music, Joan sets out with her friends to defeat the Minister and free her beloved from his clutches.

drum-5
Agata Wisny & Bob Hiltermann. Set & props design by Ken Mackenzie. Costume design by Ruth Albertyn. Makeup by Angela McQueen. Video & projection design by Laura Warren. Lighting design by Chris Malkowski. Photo by Dahlia Katz.

Hiltermann brings a nightmarish, supernatural edge to the menacing, arrogant Minister; his sharp-featured white face mirrored by the spooky talking head projections that flank the stage—occasionally speaking they guide us through the story (voice acting by Raquel Duffy and Diego Matamoros). Birley’s performance as Joan beautifully weaves the devastation of grief with the perseverance of resistance as Joan strives to free Karen, despite the fact that she’ll never be able to get her back.

Lovely work from a supporting cast that hails from all over the globe; Liu’s Butterfly is both balletic and delicate, with a feisty will that doesn’t back down from a fight; and Durant brings comic relief as the tough, yet sweet and big-hearted, Bulldog. Den Dekker’s meek and timid Ava reveals inner strength as her longing for freedom for herself and her dancing children turns into action; and Bacchus’s Squib may be a hard-ass soldier serving the Minister, but is as much under his control as the others, and would choose otherwise.

Visually stunning, magical and moving, this Deaf-led, ground-breaking piece of storytelling resonates; both allowing Deaf audience to experience their culture on stage, and giving hearing audience a new perspective on how a story can be presented and communicated. Hearing audiences are used to using their ears to hear the music and dialogue; here, we see and feel the music, the vibrations physically resonating through our bodies and the rhythms dancing across our minds—all aimed at our hearts. And it’s a compelling reminder, for all of us, that love, colour and music are powerful weapons against the dark forces that haunt our everyday lives.

The Black Drum continues at the Young Centre until June 29; advance tickets available online or by calling the box office at 416-866-8666 or 1-888-898-1188.

*Note: This production is presented with Written and Voice Synopsis & Audio Assist Devices and is accessible to non-ASL audiences.

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Family, blood & sins of the father in the compelling, darkly funny Tough Jews

Maaor Ziv, Blue Bigwood-Mallin, Luis Fernandes, Theresa Tova, Anne van Leeuwen, G. Kyle Shields & Stephen Joffe in Tough Jews—photo by John Gundy

Leave the gun. Take the kugel.

Storefront Theatre is back, this time partnering with The Spadina Avenue Gang to mount the world premiere of Michael Ross Albert’s Tough Jews, directed by Storefront founder/co-artistic director Benjamin Blais and running at Kensington Hall in Toronto’s Kensington Market.

Tough Jews was Albert’s graduate project about a family of Toronto Jewish gangsters; and, although it’s set in the late 20s and early 30s, the play speaks to issues of anti-Semitic and anti-immigration/refugee sentiments that are relevant today, especially given the influence of the current administration to the south, and the rise in hate crimes targeting Jews and Muslims on both sides of the border.

Set in the basement speakeasy, downstairs from the family’s shop and home in Kensington Market, Act one opens in 1929 on Yom Kippur, 10 days before the stock market crash. Overseen by the widowed family matriarch Ida (Theresa Tova), brothers Joe (Luis Fernandes) and Ben (Blue Bigwood-Mallin) take care of the family business running booze downstairs, while Teddy (G. Kyle Shields) runs the legit business upstairs. Kid sister Rose (Maaor Ziv) and Ben’s American fiancée Marge (Anne van Leeuwen) watch from the sidelines. Downstairs business with Detroit’s Purple Gang goes south when hothead cousin Ziggie (Stephen Joffe) interrupts negotiations. This prompts Ben to come up with an idea to get Rose’s dope-dealing boyfriend Harry (who we never see), to get in on the action; despite the family’s disapproval of Harry, Ben hopes to placate the Purple Gang with new, hard-to-get product.

Act two jumps ahead four years to 1933, a couple of months after Hitler becomes Chancellor of Germany and shortly after the Christie Pits riot. Joe and Marge have been living in Florida, but his business was hit hard by the Depression, and he’s returned home to Toronto. Ben has also just come home, just released from jail; and Rose has a three-year-old and some serious domestic issues at her house. Teddy has taken over the speakeasy in the interim, but is now using it as a hide-out after his involvement in the Christie Pits riot.

Family secrets emerge throughout; and serious, changing situations prompt some equally drastic decision-making and choices. How far will a marginalized, oppressed and desperate people go in order to survive?

Stellar work from the entire cast in this immersive theatrical experience where the audience has a fly-on-the-wall view of the proceedings. Tova is hard as nails, hilarious and heartbreaking as Ida, who recalls in sharp, painful detail the oppression of her homeland and the hardship of an ocean crossing. The dreams of a better life destroyed by hate and oppression in a new country, Ida takes charge with pragmatism, grit and wry wit; and with a laser focus on turning the family’s fortunes around. Fernandes gives oldest brother Joe a nice balance of calculating professional and protective man of the house. Dog tired and struggling to keep the family business afloat, Joe must also manage the less than friendly relationship between Marge and his family.

Bigwood-Mallin brings a great sense of spark and ambition to Ben; the only one who really wants to be a gangster, Ben is genuinely excited to expand the business, make connections in the U.S. and make more money. Shields does a marvelous job with Teddy’s arc; as the bookish, observant kid brother, Teddy is torn between being a good man and seeing their legitimate family business survive, and the struggle to survive in a harsh, unfair world that leaves his family few options. By Act Two, he’s grown up a lot in those four years; a changed man, he sees what’s going on in Germany—and how prejudice and hate know no boundaries—and it sickens him.

Ziv’s Rose is an irreverent spitfire; an independent-minded and often neglected member of the family, Rose does her best to make a life for herself, but finds new challenges outside the safety of the family nest. Van Leeuwen brings a regal edge to the platinum blond, leggy Marge; a dancer when Joe first met her, she’s now set on becoming a respectable wife and looking forward to enjoying the good things in life. Unable to stomach Joe’s family business, however, she retaliates by putting on airs. Joffe gives Ziggie a menacing, lost boy edge. Taken in by his aunt Ida as a child, Ziggie’s grown up into a dangerous punk with some serious anger and impulse control issues; and his choices make him a liability to the family.

With big shouts to the design team Adam Belanger (set), Melissa Joakim (lighting), Lindsay Dagger Junkin (costumes), Angela McQueen (makeup) and Miquelon Rodriguez (sound) for their work on the evocative, immersive environment; and to fight director Simon Fon, and co-stage managers Justine Cargo and Andrea Miller. Throughout the production, corpses will be played by Kyle Bailey, Daniel Briere, Gabriel Hamilton and David Lapsley. The bartender makes a mean Manhattan, with the good Jack Daniels.

Family, blood and sins of the father in the compelling, darkly funny Tough Jews.

Tough Jews continues at Kensington Hall till April 16 (enter through the back alley—follow the sandwich board sign); full schedule and advance tix available online]. Book in advance for this one, folks; it’s a popular company and there’s a lot of well-deserved buzz about this show—not to mention the intimate venue. Warning: Show contains gun shots and smoking (herbal cigarettes).

In the meantime, check out Brittany Kay’s In the Greenroom blog interview with playwright Michael Ross Albert and actor G. Kyle Shields, with director Benjamin Blais dropping by.