Steven Conway & Pearle Harbour. Lighting design by Logan Raju Cracknell. Photo by Michael Cooper.
Pearle Harbour pops onto the Factory Theatre Mainspace stage for Next Stage Theatre Festival with her timely, funny and moving pre-apocalyptic multimedia drag cabaret Pearle Harbour’s Agit-Pop!Written by Justin Miller and directed by Rebecca Ballarin, with music direction and live accompaniment by Steven Conway, and video design by Adam Miller, Pearle brings her wartime tragicomedienne song stylings and storytelling to explore our deepest fears.
Climate change is at a crisis point, the Doomsday Clock is at two minutes to midnight, and Australia’s on fire—but keep calm and laugh, sing, and even scream and cry, along with Pearle as she treats audiences to some music gems by the likes of David Bowie, Judy Garland, Tom Waits and more, including a different special guest artist appearance with every performance. Examining our deepest existential fears, the storytelling and song stylings switch between funny and poignant, with Pearle living up to her reputation as a wartime tragicomedienne and including some gentle, consensual audience participation.
The 1950s Bert the Turtle PSA bit on how to protect yourself in the event of a nuclear blast (duck and cover) got a bit too close to home this morning when that Emergency Alert went out to folks across Southern Ontario around 7:30AM. The vague warning, directed to folks living withing 10km of the Pickering nuclear power plant, turned out to be sent in error, but loads of questions remain as I write this.
There’s some truly frightening stuff happening out in the world right now—but, ultimately, Pearle’s message is one of awareness, engagement, hope and love. Let’s do better. Let’s reach out to each other. Let’s turn back that clock.
You have three more chances to catch Pearle Harbour’s Agit-Pop! in the Factory Theatre Mainspace until January 19; check the show page for exact dates, times and advance ticket purchase. The house was packed yesterday, so early arrival or advance booking strongly recommended.
When a banished, disenchanted Fairy (an adorably sweet and wry-witted Jamie McRoberts) catches wind that the Giant (voiced with menacing force by Cynthia Dale) has sent the evil villain Fleshcreep (Cyrus Lane, living up to the name and relishing the deliciously diabolical nastiness) to find a magic chicken that lays golden eggs, she begins to reclaim her magic and casts a spell to protect the chicken. This, however, doesn’t stop Fleshcreep from pressuring local Squire (played with regal dignity and moral conflict by William Fisher), who knows something about that chicken, to raise taxes on an already financially stressed population.
Local farmer Dame Trott (Greg Campbell in a saucy redhead Queen Mum meets Coronation Street maven turn) is at her wit’s end about how to pay the rent and instructs her son Jack (played with charismatic high energy by Caulin Moore) to sell their beloved cow Daisy (operated by Christopher Fulton and Tim Funnell, giving her eyelash-batting cuteness and swagger). In a series of tricky transactions, Jack ends up selling Daisy for a handful of talking beans! Meanwhile, the Squire’s daughter Jill (Teresa Tucci, with feisty determination and positivity) has been taken by the Giant. Good thing those beans, with the help of the Fairy, grow into a massive beanstalk that leads to the Giant’s castle—and Jack sets off to save Jill. Our hero is assisted throughout by the hilarious Ed #1 (Tim Funnell) and Ed #2 (Christopher Fulton), who entertain us and befuddle the bad guy.
Heroic deeds, secret plots, surprising revelations, and even a wedding, emerge; all accompanied by pop music favourites, some impressive hoofing and synchronized movement, and wacky slapstick and wordplay. And, of course, since this is a panto, audience participation is encouraged and appreciated. There’s a real community atmosphere with this production, with both the company and the folks from the neighbourhood making this an annual holiday tradition; and local business sponsors are shouted out throughout the performance, with live commercial spots.
Jack and the BeansTalk continues till December 29; please note the early curtain time of 7:00 pm for evening performances. Advance tickets available online, by calling 1-800-838-3006 or at the door.
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.
King Theseus (James Dallas Smith) and his betrothed Hippolyta (Siobhan Richardson) are called upon by distressed nobleman Egeus (Ahmed Moneka) to intervene when his daughter Hermia (Marissa Orjalo) refuses to go along with an arranged marriage to Demetrius (Nick Dolan). Hermia is in love with Lysander (Nathaniel Hanula-James); and her BFF Helena (Kelsi James) is in love with Demetrius, who only has eyes for Hermia. Bottom line: Old-school law says if Hermia doesn’t marry Demetrius, she’ll be put to death—so she and Lysander run away into the forest, hotly pursued by Demetrius and Helena.
In the forest, another royal couple—Oberon (James Dallas Smith) and Titania (Richardson)—are estranged and at war over the custody of an orphaned human boy. In an attempt to steal the boy away, Oberon sends sprite Puck (Moneka) to fetch a magical flower, the juice of which will cause its victim to fall madly in love with the first thing they see; Oberon applies the flower to the sleeping Titania. Under Oberon’s orders, Puck goes to anoint Demetrius so he’ll fall in love with the scorned Helena—but mistakenly applies the flower to Lysander. Now both men long for Helena, and threaten to serious harm on each other to win her.
Meanwhile, laid off auto worker Bottome (Steven Burley) gathers in the forest with fellow mechanicals (aka tradesmen: Dolan, Hanula-James, Orjalo and James) to rehearse a play they hope to perform at Theseus’s wedding, where a practical joke played by sprite Puck (Moneka) turns Bottome into a donkey and scatters his friends in fright—and draws the loving attentions of the bewitched Titania when she awakens to see him.
Of course, chaos and hilarity ensue—and Puck must find a way to make it right. And the whole thing culminates with a play within a play, as the bumbling but earnest mechanicals perform their hilarious classical tragedy at the wedding.
This is the kind of Shakespearean comedy where you pretty much have to go silly or go home—and the Driftwood cast really gives ‘er as they accompany the magical hijinks with a catchy rock, soul and opera-inspired a cappella music score (with Fox and associate music director Alison Beckwith providing additional vocals). The production also incorporates some fun Dungeons & Dragons and Pokémon moments.
Burley is hilarious as the loveable windbag Bottome, who would play all the parts if he could—deep down, a man adrift and reaching out for community. Hanula-James and Orjalo are hysterical as the vain cellphone and selfie-obsessed Hermia and Lysander; Dolan brings a sullen teenage edge to Demetrius and James is adorkable as the scorned, awkward Helena. Smith and Titania are nicely matched, doing double duty as the human and magical royal couples; imperious yet full of their own quirks and foibles, they show us that it’s not just humans who can be fond and foolish in love. Moneka is a delight as the mischievous Puck; and comical as the old-fashioned, technically-challenged Egeus.
Driftwood’s reputation for making Shakespeare accessible for all ages, as well as introducing creative innovation to the canon, is in full force with this enchanting, fun production. Bring the family, a picnic, some chairs or a blanket—and enjoy an evening outdoors with this magical comedic favourite.
A (musical) Midsummer Night’s Dream is back at Withrow Park tonight (July 27) at 7:30; and continues around Ontario until August 18, when it closes at Mann Raceway Plaza in St. Catharines. Check the Bard’s Bus Tour page for the full schedule of dates/locations, as well as reserved seating. Admission is pay-what-you-can (PWYC) or free; suggested contribution is $20-$30 per person. Check the company’s Twitter account for weather-related updates.
As part of its 25th anniversary celebration, Driftwood is collecting audience stories about experiences seeing their productions; you can do that on paper at the venue or on social media (make sure to tag Driftwood). You may also want to consider lending your support with a donation to keep the company going for another 25 years.
*New Toronto performance added: Thurs, Aug 15 at 7:30 pm at the Daniels Spectrum Courtyard.
impel theatre gives us Malvolio’s perspective of the events from Shakespeare’s comedy Twelfth Night in Tim Crouch’s riveting, visceral, cerebral I, Malvolio, directed by Kendra Jones, assisted by clown consultant Calvin Peterson. I, Malvolio had its closing performance at the Smart Cookie Club at Artscape Youngplace last night.
As we prepare to enter the theatre, we’re given a Student Theatre Evaluation Form, with five questions about the presentation we’re about to see; here, we are middle school students and a guest speaker will be joining us. The chairs within room 109 are both child- and adult-sized; and we can also choose to sit on a cushion on the floor; we are invited to make ourselves comfortable, and participate—and even leave—as we like.
Dressed in yellow socks, black shorts and a worn t-shirt with yellow suspenders, and sporting clown makeup, Malvolio (Justin Otto) sits on the floor, reading a love letter—purportedly from his mistress Olivia, but actually a practical joke instigated by her uncle Sir Toby Belch, with the help of conspirators within the household. He maintains throughout that he is not mad, but does he protest too much? Turning his attention to us, like an overly strict substitute teacher, he snaps at us to correct our posture and turns accuser, and making us complicit in the practical joke that went too far against him. If we’re going to behave like children, we’re going to be treated like children. And he will have his revenge upon us all.
He takes us through the story we know from Twelfth Night from his point of view. How he takes his job as Olivia’s Steward very seriously; his hawk-eyed attention ever set on keeping order, cleanliness and decorum within the household. How his uncharacteristic behaviour was inspired by a love letter he thought was written in earnest; and how he was locked up in the dark and filth as a madman—only to be released to learn it was all a joke, and his beloved mistress has married a man she’s known for less than a day! And what about the crazy goings-on of the others? Viola dressing as a man. The love triangle between Olivia, Viola and Orsino. And Viola’s twin Sebastian agreeing to marry Olivia after knowing her less than a day!
Otto is a compelling presence, giving a performance that is grounded in his body, both visceral and cerebral as he lays out Malvolio’s arguments. Playing Devil’s advocate as he sets out this other perspective of the story, he forces us to examine our responses to mean-spirited practical jokes and bullying, as Malvolio rages on, reliving the pain, trauma and humiliation of what was done to him. And considers what form his revenge will take as he draws willing audience members into his plan of action. Malvolio isn’t mad—but he is broken and struggling to regain his sense of identity and equilibrium.
Sure, Malvolio is an overly proud, self-righteous, humourless, insipid man. He also has a fastidious attention to detail, order and management, making him excellent at his job. And he didn’t deserve to be treated so.
The Velvet Duke faces off with our inner demons in Velvet Wells’ Personal Demon Hunter, running in the back room on the main floor at the Imperial Pub. Part self-help workshop, part stand-up and all heart, personal storytelling, improv and music combine to create a casual, open-minded space where audience members are gently invited to share their personal demons.
Motivational speaker Velvet Duke (Wells) welcomes us into the space, a workshop designed to address our inner demons–and also, as his puppet friends suggest, our angels. Diving into family history, lived experience and the ongoing inner voice we all possess, Duke shares his story, through anecdote and music—accompanied by Alan Val, Wells’ partner in the band OverDude, on electric guitar, doing some musical improving; and stage manager Alan Leightizer on laptop—and invites us to share ours.
Wells is a totally relatable and approachable presence, finding common ground as he shares personal stories that resonate; and ever so gently inviting consensual audience participation. His ultimate message: You are enough and you don’t need growth to be a person of value because you already are a person of value.
Father issues, self-doubt, unhealthy family dynamics, imposter syndrome, toxic workplaces—the space and its occupants are open-minded and open-hearted during the sharing. And saying it out loud, naming the demons, is a good step toward exorcising them. Angels and demons in our everyday lives—around us and within us—our outer and inner voices of positivity and negativity. Wells encourages us to push those negative influences and voices aside, and find and keep positive connections—whether it’s on stage behind a microphone or at our jobs, wherever.
Person Demon Hunter continues at the Imperial Pub for four more performances: July 11-13 at 8:00 and July 13 at 3:00; check the show page for advance tickets.
Wells and Leightizer are also cast members of The Dandies, who rock Star Trek-themed improv in Holodeck Follies.
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!