A grownup cautionary fairy tale of loyalty, betrayal & love in Shakespeare BASH’d fast-paced, highly entertaining, resonant Cymbeline

Catherine Rainville. Photo by Kyle Purcell.

 

Shakespeare BASH’d invites us to hear a grownup cautionary fairy tale of loyalty, betrayal, ambition, jealousy, love and family. Relationships are put to the test with evil and foolish schemes, and women’s and commoners’ true worth—for better or worse—are grossly underestimated in its fast-paced, highly entertaining, resonant production of Shakespeare’s Cymbeline, directed by Julia Nish-Lapidus, assisted by Bailey Green, and on for a short run at Junction City Music Hall.

Incensed at his only daughter Innogen’s (Catherine Rainville, bringing fierce strength and gentle vulnerability to the sharp-witted, independent princess) marriage to his ward Posthumus Leonatus (Jesse Nerenberg, giving an earnest, fiery passion to the popular, good young man), Cymbeline, King of Briton (David Mackett, in a chilly and decisive imperious turn) banishes the youth and puts his daughter under house arrest. Strongly influenced by his new Queen (Mairi Babb, deliciously arch as the cunningly manipulative, two-faced Queen), his second wife and Innogen’s step-mother, Cymbeline had intended Innogen for the Queen’s son Cloten (Emilio Vieira, giving a great comic turn as a quarrelsome, entitled idiot).

Having exchanged tokens with Innogen and fled to Rome, and despite pleas to the contrary from his level-headed host Philario (Kiana Woo, who gives a great multitasking performance, notably as the wily doctor and a saucy, irreverent servant), Posthumus agrees to enter into a foolish wager with Philario’s friend Iachimo (Daniel Briere, in a hilariously edgy turn as a sly, lascivious scoundrel of a Roman lord), whereby Iachimo bets he can prove Innogen false. Obtaining his proof through trickery, Iachimo wins the bet—and, out of his mind with anger and grief, Posthumus charges Innogen’s servant Pisanio (Bailey Green, bright-eyed and energetic as Innogen’s unwaveringly faithful right hand) with killing Innogen. Apprising her mistress of Posthumus’s plan for revenge, Pisanio helps Innogen disguise herself as the boy Fidele and flees the palace.

Meanwhile, in the wilds of Briton, banished noble Belarius (James Wallis, bringing a warm, protective sweetness to the rough seasoned warrior) hunts with his daughters Guiderius (Melanie Leon, suffusing the rough and tumble young woman with a mature wisdom) and Arviragus (Déjah Dixon-Green, bringing gentle, poetic tone to the stalwart younger sister)—and come upon a weary, hungry Innogen in disguise when they return to their cave dwelling.

Back at the palace, the proud Cymbeline—egged on by the Queen—incites war with Rome by refusing to pay tribute; and Cloten has learned of Innogen’s whereabouts and is in hot pursuit, intent on having her under any circumstances. Personal and political clashes ensue, secret plots and identities are revealed, and foolish assumptions and conflicts are set to rights.

When you go to a Shakespeare BASH’d show, the audience is treated like family; and Nish-Lapidus, Wallis and company are the gracious hosts—creating an atmosphere of welcome, warmth and inclusion that adds to its signature storytelling; using minimalist but effective set and costumes, focusing on the text and the relationships to deliver a production that is both accessible and resonant for today. This particular production nicely supported by music from Matt Nish-Lapidus.

And with a script that can easily turn to melodrama, the staging, pacing and direction go big with an edgy, dark sense of humour; huge, beautifully poetic declarations of love and fidelity; and impassioned action-packed narratives of conflict. A cautionary tale on a number of levels, what especially speaks to audiences today is the inherent misogyny; society underestimates and undervalues its women, for better or worse—blinding all, especially men, to women’s capacity for both good and evil. The play also speaks to a strict and accepted code of classism, whereby men and women alike are judged by their station in life as opposed to their character and actions—leaving the rich and powerful to do as they wish, often with little or no consequences. This play could have easily been called Innogen—but Cymbeline suits, as it is his actions and ill-conceived decisions that set these events in motion, causing both personal and national distress and loss.

Cymbeline continues at The Junction City Music Hall until February 9. Advance tickets are sold out, but if you get there early, they’ll do their best to squeeze you in. Please note the early curtain time of 7:00 p.m.; box office opens at 6:30 p.m. ($25 cash only at the door).

Toronto Fringe: Mistaken identities. Jealous love. All in good fun in hilarious, high-energy The Comedy of Errors

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Shakespeare BASH’d bids a fond farewell to the Victory Café with their hilarious, high-energy Toronto Fringe production of William Shakespeare’s The Comedy of Errors, directed by Julia Nish-Lapidus, assisted by Megan Miles.

Twin sons (Kelly Penner) of a nobleman (David Mackett) and their twin servants (Tim Welham) are separated from each other, then their parents. Luckily, each son (both named Antipholus) stays together with his man (both named Dromio), but when Antipholus and Dromio of Syracuse land in Ephesus, weird things start happening, including being set upon by a rampaging jealous wife (Suzette McCanny), and debtors threatening jail or worse when they are mistaken for the Ephegean counterparts. All four young men begin to question their own and each other’s sanity, and the boys from Syracuse wonder if they’ve landed in a city of witches. But no worries, as this is a comedy, all are reunited and all ends happily.

It’s always a good time with the Shakespeare BASH’d folks; and this minimalist, modern dress production is no exception. Stand-outs include Penner as the proud, noble and confused Antipholus twins; and Welham’s saucy, put-upon servant/side kick twin Dromio’s. McCanny is hilariously neurotic and ferocious as Adriana, the baffled, neglected and determined wife of Antipholus of Ephesus; and Bailey Green does lovely double duty as Adriana’s supportive, loyal and level-headed sister Luciana, and the sassy but friendly local Courtesan.

Mistaken identities. Jealous love. Where’s my money, bitch? All in good fun in The Comedy of Errors.

The Comedy of Errors continues at the Victory Café (upstairs) with four more performances: July 7-9 at 7 p.m. and July 10 at 5 p.m. You need to get tix in advance or line up early at the box office for this one, kids. For ticket info and advance tickets/passes, check out the Fringe website.

SummerWorks: A beautiful, bittersweet memory play featuring outstanding, powerful performances in Seams

Seams-400x312Dress forms, a clothing rack, a large basin with wash board and soap, a pile of fabric, a work table. And off stage left, a chair. Old Frosya enters, the ghosts of her former co-workers standing on the catwalk on the upper level of the stage.

And so the stage is set for the Seam Collective’s production of Polly Phokeev’s Seams, directed by Mikaela Davies – running at the Theatre Passe Muraille (TPM) Mainspace as part of SummerWorks. Inspired by an old photo of Phokeev’s grandmother and her seamstress/seamster co-workers, Seams is set in the wardrobe room of a theatre in Moscow, 1939.

Old Frosya (Clare Coulter) is the sole survivor of a group of costume-makers – and her memories turn to their moments together in 1939, in the first months of WWII. In a world where the state owns everything, corruption runs wild, and being broke, cold and hungry is commonplace, it’s everyone for themselves. People are desperate enough to report neighbours, friends and co-workers for any hint of suspicious activity – selling out one family for another to heavy-handed authorities – in order to survive or, in some cases, to get perks like a nicer apartment. Suspicion and mistrust, and guarded thoughts, become a way of life. The love/hate for Russia and the people in their lives is palpable. Everyone has a secret. And this is everyday life.

Part memoir, part confessional, Frosya’s narrative starts with relatively happy times – a workplace family gossiping about the actors and selectively sharing their lives. It’s a microcosm of the larger world outside the wardrobe room; and as conditions deteriorate in Russia – in an already difficult socio-political environment – so too do they begin to crumble in their world.

Seams features moving, nuanced performances from the entire cast. Coulter is haunting as the gruffly matter of fact, wry-witted Old Frosya. As Frosya’s younger self, Caitlin Robson brings a bright warmth and generosity to the brisk and efficient costume room den mother. Ewa Wolniczek brings a strong, stubborn sense of drive and idealism to the passionate young activist Marina.

There’s great chemistry between Krystina Bojanowski (the positive, open-hearted and hopeful Ira) and Jesse La Vercombe (the quiet, pleasant and troubled Anton) – who share some adorably awkward moments as both fumble around their attraction for each other. And there’s an equally lovely dynamic between Sochi Fried’s dark, introspective and mysterious Radya and Elizabeth Stuart-Morris’s irreverent, daring and carefree Shura – their moments together full of aching longing and electric eroticism. Of course, circumstances being what they are, when they are, the good times cannot last – and with the ransacking of the wardrobe in a theatre already on the brink of closure, so too are relationships torn apart as their time together draws to a close.

With shouts to design team Shannon Lea Doyle (design), Steve Vargo (lighting), Jackie McClelland (installation) and Nicholas Potter (sound) for their evocative construction of this world.

Seams is a beautiful, bittersweet memory play – equal parts charming and heartbreaking – featuring outstanding, powerful performances.

Seams has two more performances at the TPM Mainspace: Fri, Aug 14 at 9:30 p.m. and Sun, Aug 16 at 4:15 p.m.The buzz is strong with this show, so book in advance or get to the venue box office early.

In the meantime, check out Bailey Green’s chat with Phokeev, Davies and Stuart-Morris (who does double duty as producer) for In the Greenroom.