Our imperious Dungeon Master invites you to his great aunt’s rec room for an evening of adventure and daring deeds in the ancient world of Trannah, as a group of intrepid heroes battle their way through horrible monsters, strange magic, debilitating injury and personal demons to achieve the fruit of their quest. Along the way, audience members will help decide their fate by rolling the die.
The epic ensemble includes Josef Addleman, Conor Bradbury, Julian Frid, Kyah Green, Ted Hambly, Liz Johnston, Isabel Kanaan, Stephanie Malek, Kaitlin Morrow, Seann Murray, Sean Tabares and Chris Wilson.
Will the stalwart band of adventurers end up in the Ruins of Forthright Ed’s, The Tomb of Eton (as we did last night), Fort Ork, Castle Ohma or in one of any other ancient Toronto-inspired locations? It’s a lot of big, wacky improv fun; full of silly antics and surprising twists as we cheer our heroes along their journey.
D&D Live! Continues in the Helen Gardiner Phelan Playhouse until July 15; check the show page for exact dates/times. This is an extremely popular company—and these guys sold out a late show on a Monday night—so book in advance to avoid disappointment.
Things are abuzz at the sisters’ house as Morro (Heather Marie Annis) and Jasp (Amy Lee) get ready for Jasp’s wedding. Clown shenanigans and audience participation ensue as the sisters visit a dress shop, first for Jasp’s wedding gown and later for Morro’s sister of the bride dress; have a cake tasting; go out clubbing with the girls for the bachelorette party; and more! And, best of all, Morro’s creating a DIY veil for Jasp! [Spoiler-ish alert: Look out for the nods to Carol Burnett, Marge Simpson and Meghan Markle.]
Of course, with Jasp getting married, Morro will be left at home alone; and Morro’s gradual realization that she will be left out of her sister’s life tugs on our heartstrings. But, in the end, nothing—not even marriage—can break the bonds of sisterly love.
Morro & Jasp: Save the Date continues in the Tarragon Mainspace until July 15; check the show page for exact dates/times. Not going to lie to you, these guys are selling out big time, so you must book in advance to avoid disappointment.
Marriage is hard work, with dozens of infuriating, mind-numbing decisions and situations to navigate every single day. For the duration of the Toronto Fringe fest, bick/antzis are here to help as they present Settle This Thing; created and performed by real-life married couple Tamara Bick and Drew Antzis, and on now in the Tarragon Theatre Extraspace.
Part improv, part TedTalk, part audience participation, Settle This Thing is a hilariously sharp and brutally honest multi-media look at the challenges of married life. Using the democratic process of audience votes to decide on issues facing their marriage, Tamara and Drew tackle everything from matching tattoos, to taking sides with/against a mother-in-law, to teaching their kids about lying. In return, and armed with scientific(ish) facts, they will provide you with coping skills and tools to navigate your relationship, deal with those in-laws and raise your kids.
It’s a whole lot of fun in 60 minutes of laugh-filled decision-making and strategizing. And the best part is: You’re deciding an issue for someone you’re likely never going to see again!
Settle This Thing continues in the Tarragon Extraspace until July 14; check the show page for exact dates/times.
Clique Claque takes us to 1880s Paris, where we meet Madame Clothilde, aka the Chef de Claque (Michelle Langille), and her husband Yannick (Robert Clarke), who run a group of professional clappers paid to manipulate audience response to theatrical performances. They can turn a bad play into a smash hit and mediocre actors into stars. Their ingénue employee Clemantine (Thalia Kane) may seem to be the picture of naiveté and innocence, but she’s a veteran of the game; though all is not well for her.
Enter young Victor (Victor Pokinko), a one-time music prodigy and current out of work musician, newly arrived from Canada, and looking for inspiration and a job. The Claque takes him on and he proceeds with his education, and in more ways than one. As he becomes instrumental in the Claque’s plan to overthrow an opposing gang of audience influencers—a group called the Clique, led by mature student Dubosc (Ron Kennell), who brutally heckle bad performances—Victor finds he may be in for more than he bargained for. Ultimately, he must choose between what is true and right, and the bitch goddess Fame.
Incorporating some cheeky but gentle audience participation, Clique Claque is an entertaining and engaging show, featuring a stand-out cast. Langille is mesmerizing as Clothilde, the seductive mistress of manipulation. Good cop to husband Yannick’s decidedly bad cop, she may be the wife in the marriage, but one gets the distinct impression that it’s she who wears the pants. Clarke is the villain you love to hate as devilishly devious, cynical and thuggish as Yannick; he represents the dark, seedy underbelly of the Claque’s endeavours, while Clothilde brings the illusion of respectable professionalism.
As Clemantine, Kane brings some lovely layering and conflict; a young woman of some experience, she knows the harshness of the world too well and feels trapped in the Claque. There’s a lost, wistful sense of longing for something better. Pokinko’s Victor is a great combination of wide-eyed innocent and game lad; disillusioned with the world of art himself, he starts out just wanting to eat, but finds himself seduced by the prospect of money and fame. Kennell’s Dubosc is a sophisticated picture of art and academe. A man with a quick, wry wit and unexpected talents, Dubosc is a fierce crusader with a deep appreciation of the good life and that which is beautiful, especially beautiful young men.
With shouts to Nina Okens for the stunning period costumes.
Opposing forces battle for supremacy in the underworld of audience influence in the diabolically charming Clique Claque.
Red Sandcastle Theatre’s Panto Players have cooked up their most meta holiday panto ever! Written by Jane A. Shields and Red Sandcastle A.D. Rosemary Doyle, A Ladd’n His Cat! opened to an enthusiastic audience at Red Sandcastle’s storefront space at Queen St. East and Logan, Toronto last night.
Played out as a story within a story within a story, there’s a Thousand and One Nights quality to this year’s panto (the company’s 6th), with storytellers spinning tales for their lives.
It all starts on the high seas, where a pirate named Russell (Doyle, who also did the set and costumes) has taken a Lad (Ada Balon) and his Cat (Jackie English) under his wing among his band of pirates. When the Pirate King (Kristopher Bowman) becomes displeased with the Cat, the wily critter strikes a bargain to enthrall him with a story—where he must be the hero.
In the Cat’s tale, we find a hard-working, fastidious Fisherman (Brenda Somers), his wife (Susan Finlayson) and daughter Gesundheit (Jennifer Lloyd) toiling away on the water, where the Fisherman casts precisely three times a day. Catching a rusty old bottle on the third cast, Gesundheit unlocks a Genie (Kristen Foote). Extremely irate after years of captivity and thirsty for vengeance, the Genie threatens the family with death—but the quick-thinking Gesundheit makes a deal to entertain and divert her with a story in exchange for her family’s life.
And Gesundheit’s story brings us to the classic tale of Aladdin and the Magic Lamp—with a twist, of course, as this is the Panto Players, after all.
Aladdin’s mother the Widow Twankey (Adam Bonney) is beside herself with worry. She works her fingers to the bone at the family’s laundry business, but her teenaged son Aladdin (Bowman) is a lazy brat. Forced out of the house to find a job, Aladdin catches a glimpse of the fair Princess (Foote) as she takes a stroll through the market with her mother the Queen (Somers) and the court Magician (Bernie Henry), who has an upcoming marriage in the works with Handsome Prince (Balon).
Looking for big money and an easy job, Aladdin accompanies the Magician to a cave, where he finds precious jewels (Lloyd, Balon and Foote), a bat (Finlayson) and a magic lamp. Re-enter the Cat, this time as the Genie of the Lamp.
Plot upon plot upon plot later (with plots uncovered along the way), we finish where we started. And it all works out in its own implausibly plausible way.
Incorporating popular songs—from Gilbert and Sullivan to Beyoncé—and including some fabulous choreography, stunning costumes and magical set pieces, plus audience participation, A Ladd’n His Cat! is a whole lotta panto fun for kids of all ages.
Great work from the entire cast, with nearly all playing two or more roles throughout. Stand-outs include English, as everyone’s favourite pink Cat; surly and cheeky, but always lending a hand, this Cat is one smart cookie. Bowman gives great comic turns as the proud, narcissistic Pirate King (and look out for him at the Shaw Festival this coming season); and the petulant, lazy-ass Aladdin, who winds up being a hero in spite of himself.
Bonney is a riot as Widow Twankey, Aladdin’s put-upon, stressed out mother; and as a tattooed, sensitive pirate. Foote is hilarious as the fetching and enraged Genie of the Bottle; and as the self-absorbed, selfie-taking Princess. Henry is delightfully sly and manipulative as the Magician; and Balon deftly runs the gamut from the lovable, innocent Lad to the stand-offish oaf Handsome Prince.
With big shouts to stage manager Deborah Ann Frankel, keeping it all going from the booth; and Panto Players alumna Margaret Lamarre, who assisted Doyle with sewing the costumes—even on her birthday!
Pirates! Genies! Fishing! Plus our favourite pink Cat. Wacky meta panto fun with A Ladd’n His Cat!
A Ladd’n His Cat! continues at Red Sandcastle until Dec 31; reserve your spot in advance by emailing firstname.lastname@example.org or by calling 416-845-9411.
Photo: (top) Adam Bonney, Ada Balon, Jennifer Lloyd, Kristopher Bowman & Kristen Foote; (middle) Susan Finlayson & Brenda Somers; (bottom) Bernie Henry, Jackie English, Deborah Ann Frankel & Rosemary Doyle. Photo by Burke Campbell.
Every person in the room is trying not to get caught staring at your beauty. – A complementary compliment from Blind Date
When Blind Date creator/actor Rebecca Northan announced that her famous clown/improv/audience participation piece would be getting its first time ever gay make-over at Buddies in Bad Times Theatre, I was one excited gay lady. And it was a dream come true for those who’d chatted with her on this very subject after performances of Blind Date during its run at Tarragon Theatre last season (I saw a performance and was one of those people).
Northan collaborated with Buddies A.D. Evalyn Parry on this queer couples run of Blind Date, which includes a girl/girl version and a boy/boy version, featuring actors Julie Orton and David Benjamin Tomlinson, directed by Northan. Orton is on this week, as Mimi dating women; next week, Tomlinson appears as Mathieu, dating men; they alternate performances for the final week. Check the show page for the full schedule. I saw Mimi on a girl/girl date in a preview last night, which was followed by a talkback.
Before the show starts, Mimi circulates the bar, chatting with women (including my friend Dee and me; but, alas, we were ineligible because I was there as media) in search of a date selection for the evening. Once inside the packed theatre space, Parry welcomes the audience and gives a brief introduction as we anxiously anticipate the start of the show. Who will Mimi choose?
We find Mimi, a lovely and lively young French clown, drinking a glass of white wine on a café patio, waiting for her blind date to arrive. For two hours! The audience empathizes, feeling bad for Mimi and annoyed at her no-show date. But, a trouper and not feeling like going home, Mimi decides to select a date from the crowd. And she picks Tara. Some brief ground rules: all Tara needs to do is be herself, be honest, including times when she chooses to not answer questions, and project so the audience can hear. Mimi’s job is to take care of her date. Either can call a time out; in this case, they’ll take a break from the play and move down stage right to the time out box, to clarify or sort out any issues that come up.
Orton is adorably charming as Mimi; equal parts playful, bashful and irreverent – and always supportive, complimentary and positive with her date. As the date unfolds, Mimi and Tara, a Gestalt therapist (who we learn in a titillating and fun revelation used to sell sex toys), get to know each other in a natural, organically unfolding way that is lovely to watch. They talk about their day, moving into discussion of family, coming out and their families’ reactions. Though Tara is admittedly nervous at first, Mimi puts her at ease, and the two find real connection through mutual trust and a sense of being present. All while being served by a hilariously surly French waiter (Bruce Horak), who is overseen by the affable, accommodating manager (Tomlinson).
Moving from the café to Mimi’s car, things get wacky as they interact with a police officer, and then continue on for a nightcap at Mimi’s uncle’s apartment, where the scene becomes more intimate and easy-going – and Tara tells an awesome and funny story about a teenage concert outing to see Guns ‘n Roses at the CNE Coliseum. Then the audience gets to choose whether they continue the date or fast-forward to five years into the future. We chose the latter (apparently most audiences do) and we find them in an open marriage, getting ready for bed after a long work day, with even more revelations to come. And all the while, we’ve been falling in love with Mimi and Tara.
The post-show talkback revealed some interesting similarities and difference between the straight and queer versions of Blind Date. Horak noted commented that the constant, universal experience is “the joy of watching two people connect;” guards gradually come down and the “theatre becomes a sacred space” as they get to know each other. Orton mentioned that it’s always a “delicious, delightful challenge” keeping the show going and making the date comfortable.
Having trained at Loose Moose (alongside Horak) with Keith Johnstone (creator of Theatre Sports and Life Game), Northan said the concepts of being present, telling the truth and telling stories – especially in Life Game – became the inspiration for Blind Date. When asked why the noses, Tomlinson said the noses give permission to be open, go bigger and still be safe; it’s a reminder that it’s a play, and it keeps the action playful and prevents things from getting creepy. They also like to think they’re bringing the sexy back to clown.
Northan said she got schooled during her queering of Blind Date – that it wasn’t simply the same deal as the straight version, just with two women or two men. Parry concurred; there was a discovery process. Northan marvelled at how straight audiences tended to be suspicious of the offer of a compliment (served on a slip of paper from a tray during the pre-show mingling), while queer folks dive right in, even asking what the paper colours meant and if this meant they’d be chosen as the date. She also noted that the women had a natural back and forth rhythm to their discussion, asking questions and empathizing with situations; during straight dates, Mimi would ask her date question after question, but it usually took him a while to ask her anything. And, most importantly, situations that straight people would take for granted as a safe space, like being asked by a cop if they’re on a date, becomes a different thing when it’s a same-sex couple. It was a lesson in power dynamics, and they realized they need to be sensitive to situations like that – and, for both straight and queer productions, especially if the date is a person of colour.
Tomlinson commented that sharing and coming together with stories is particularly important and timely right now. And an audience member noted that the storytelling is based in personal experience and how everyone’s story is different – there’s no one way to be queer. Orton (who is a lesbian) noted the differences in her experiences doing the straight and queer versions. As Mimi, she draws from her own life as she gets to know her date and her date gets to know her; and she had to edit, change pronouns and leave out parts of her story during the straight dates. This became problematic for a show about being present, open and truthful. Last night, she shared a story of a secret high school girlfriend for the first time, which was lovely to watch and liberating for her. As for Mimi’s date Tara, she had a great time. She had no idea what she was in for when she came to see the show with a friend, but had been wanting to go on a first date and had even been looking into doing an improv class. Just goes to show you: the universe is listening and delivers.
Rebecca Northan’s baby grows up to be queer in the Buddies in Bad Times Theatre’s production of Blind Date. Keeping it real, present and loving when Mimi met Tara in last night’s delightfully funny and touching preview.
The table of objects and remembrances of visitors’ experiences of the North has been moved to the side of the space to accommodate chairs for an audience. The stage is set against the back wall, designed to look like a wall of ice.
Frank, the studio cat, lounges upstage right and eventually wanders about during the course of Parry’s performance. This is his space, after all, so it wasn’t much of a surprise that he inserted himself into the show.
Weaving history, songs, personal anecdotes and images of her trip to Greenland with Students on Ice, along with some visitor interview excerpts recorded during the installation’s residency at SummerWorks, Parry takes us from the Franklin expedition to the present day, winding through exploration, a brief history of the Dominion’s early and shameful relationship with the Inuit, to her own personal thoughts and experiences of the North. The performance has a kitchen party quality to it, especially when we are invited to turn our chairs around to face the map, with Parry’s soundscaping and singing continuing throughout, in a crystal clear and soothing, mantra-like celtic folk style. Parry’s father David, who was a folk singer and member of The Friends of Fiddlers Green, also features prominently in the performance – and To Live in the Age of Melting may be as much an homage to him as it is to the landscape.
History, geography, ecology, politics, art and culture merge in this moving and enlightening performance. And although the SummerWorks installation and performance is now over, this is just the beginning of Parry’s exploration. She plans to continue honing this work, and will go on to conduct a similar examination of Northern views of the South.
Evalyn Parry’s To Live in an Age of Melting: The Idea of North 2.0 is the beginnings of a beautiful ode to the North.
Keep an eye out for Evalyn Parry and To Live in an Age of Melting: The Idea of North 2.0 – and its continuing evolution and addition of Northerners’ perspectives.