FireWorks Festival: Fairy tale favourites collide with a contemporary feminist twist in the hilariously charming, bawdy If the Shoe Fits

 

Erik Mrakovcic & Marina Gomes. Set design by Teodoro Dragonieri. Costume design by Margaret Spence. Lighting design by Liam Stewart. Photo by Bruce Peters.

 

Alumnae Theatre launches the final week of its FireWorks Festival with Genevieve Adam’s If the Shoe Fits, directed by Heather Keith—opening last night in Alumnae’s Studio Theatre. Fairy tale favourites collide, with a contemporary feminist twist, in this hilariously charming, bawdy deconstructed Cinderella story—and an inside look at what really happens after the “happily ever after”.

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Chris Coculuzzi & Erik Mrakovcic. Set design by Teodoro Dragonieri. Costume design by Margaret Spence. Lighting design by Liam Stewart. Photo by Bruce Peters.

Hosted by our glittering Narrator (Eugenia De Jong, with a twinkle in her eye and an arch in her brow) as she interacts with both audience and characters, we’re introduced to the intrepid Sir Eglantine (Chris Coculuzzi), who’s been tasked by the Prince to find the young maiden who fits the pretty size 7 glass shoe that was left behind at the ball. He’s been at it for over two years with no success, and is at his wit’s end—until he learns of a simple pig farmer Ned (Erik Mrakovcic) who has a sister that he believes may be the one. Having raised his sister and run the family farm since they were orphaned as children, Ned is incredulous at first—especially as his sister is a rough and tumble kind of gal—but the possibility of a life of wealth and comfort for Nora (Marina Gomes), and a plumb position as the Royal Hog Supplier, convinces him to let Sir Eglantine try. And the shoe fits!

Meanwhile, at court, Felicite (Sophie McIntosh), Amandine (Jennifer Fahy) and Virginie (Chantale Groulx) share laughs and woes over a good sisterly bitch session (think Desperate Housewives of the French Court); all have either neglectful or beastly husbands, and all are engaged in affairs to varying degrees—in some cases, for economic survival.

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Jennifer Fahy, Sophie McIntosh & Chantale Groulx. Set design by Teodoro Dragonieri. Costume design by Margaret Spence. Lighting design by Liam Stewart. Photo by Bruce Peters.

Upon his arrival at court with Ned and Nora, Sir Eglantine finds himself in hot water with Virginie after sending no word while he was away for over two years. Amandine has her eye on some fresh meat: Ned, who has also recently been fitted with some fancy court clothes (big shouts to costume designer Margaret “The Costumator” Spence for the stunning—and surprising—period wardrobe). Felicite is charged with training Nora to be a lady, with hilarious results as Nora navigates court fashion, manners and deportment. Enter a young court violinist (Mark McKelvie), who is not all he seems, who has been watching Nora with great interest. Plots, plans and unexpected alliances ensue; and even the Narrator seems at a loss about what to do. Will tattered marriages be mended—and will the Prince have his mystery sweetheart for his wife?

Excellent work from the ensemble in this fast-paced, sharply funny fairy tale for modern times that incorporates issues of gender, class, marriage and consent in candid, provocative ways. Coculuzzi rounds out Sir Eglantine’s loyal, fastidious sense of duty with a soft, romantic heart; this plays nicely against Groulx’s sharp-tongued, cynical and pragmatic Virginie, a desperate, neglected wife and mother who longs for love and security. Mrakovcic gives an amiable, but opportunistic, turn as the homespun pig farmer Ned, who has quite the eye-opening when he becomes Amandine’s boy toy; putting the shoe on the other foot, so to speak. Fahy is deliciously arch and saucy as Amandine; as experienced in the ways of love as she is in revenge, Amandine is tougher than her powdered, ribboned exterior would suggest. Gomes is extremely likeable and feisty as the rough, independent Nora; with a Puck-like agility and sense of irreverent fun, Nora plays along with her courtly transformation—but finds she’s got a big decision to make. McIntosh infuses Felicite’s poignant sweetness with a determined sense of resolve and virtue, even when she’s in doubt of what to do. And McKelvie gives the ridiculously handsome and adorably awkward Prince a boyish naiveté; entitled and sheltered, the Prince has no idea about the world outside the castle, especially when it comes to meeting women.

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Mark McKelvie. Set design by Teodoro Dragonieri. Costume design by Margaret Spence. Lighting design by Liam Stewart. Photo by Bruce Peters.

The knights and princes who save the damsels, or use the damsels save them from themselves, or find the mysterious girl who fits the shoe she at the ball, all feel entitled to own these women through marriage—all the while calling it “true love”. But who says the women were in distress, or wanted to save a cursed man from himself, or marry a prince?

The shoe may fit, but she doesn’t have to wear it.

If the Shoe Fits continues in the Alumnae Studio Theatre until November 24; get tickets online, by calling 416-364-4170 (ext. 1) or in-person at the box office one hour before curtain time (cash only). There will be a post-show talkback with the director, playwright and cast following the Saturday, November 23 matinée performance.

 

Toronto Fringe: Summer camp like you’ve never seen before in the wacky fun, sex-positive, feminist Pack Animals

S.E. Grummett & Holly M. Brinkman. Photo by Brynne Carra Photography.

 

Scantily Glad Theatre presents summer camp like you’ve never seen before in its Toronto premiere of the wacky fun, sex-positive, feminist Pack Animals, created and performed by Holly M. Brinkman and S.E. Grummett, and running at the Randolph Theatre.

When a wilderness-wise Woodpecker (Brinkman) and a bush craft-challenged Beaver (Grummett) get lost in the woods, they have to work together and use what resources they have to find their way back to camp. Wacky fun times and hilarity ensue as the pair must make do when vital gear goes “missing,” a bear shows up, fairies join a (formerly) skeptical Woodpecker in their tent, and some random cowboy dude (Jon Blair, from the cast of The Resistance Improvised) keeps showing up to mansplain camping and even feminist comedy!

Hilariously sprinkled throughout the camping mishap shenanigans is a series of Hinterland Who’s Who bits (with puppets!), featuring various male creatures to be aware of in the dating scene—complete with theme music, courtesy of Brinkman’s recorder. And then there’s their kick-ass funny mansplaining song, featuring Grummett on ukulele.

Brinkman and Grummett make for the perfect odd couple pairing: Brinkman’s fastidious, experienced and enthusiastic camper, sporting a shit ton of badges on her Woodpecker sash; and Grummett’s rough and tumble bad-ass Beaver, who couldn’t care less about the wilderness or camping, with a half-assed interest in badges.

It’s bawdy good fun; it’s sex-positive; it’s LGBTQI+, non-binary and feminist. Brinkman and Grummett invite a different Guest Mansplainer for every performance—and by the end, I bet you’ll be singing along.

Pack Animals continues at the Randolph Theatre until July 13; check the show page for exact dates/times and advance tickets.

Toronto Fringe: Stepping into the mind of a Ulysses character in the playful, bawdy, theatrical Molly Bloom

Lena Maripuu, Jenna-Lee Hyde, Reanne Spitzer & Annie Tuma. Photo by Jocelyn Adema.

 

Forth Gorgon Theatre takes us into the mind of Molly Bloom in Jocelyn Adema’s playful, bawdy, theatrical adaptation of the final chapter of James Joyce’s Ulysses in Molly Bloom, directed by Adema and running in the Helen Gardiner Phelan Playhouse.

Four actors play various aspects of Molly’s psyche (Jenna-Lee Hyde, Lena Maripuu, Reanne Spitzer and Annie Tuma) as she tosses and turns, her brain electric with tumultuous thoughts and memories at 3 a.m. A sexually-charged being, married to Leopold for 16 years, Molly hasn’t had sex with her husband since the death of their son 11 years ago. The internal monologue is externalized through dialogue, monologue, synchronized and individual movement, and vocals in unison and harmony; the rapid-fire discussions and musings range from gossip, love, lovers, sex, birth, suspicion, infidelity and attraction. Memories of her new-found sexual power: the relishing of kisses, the union of bodies, her blossoming breasts, and the hard and soft dichotomy of the penis; and her afternoon lover Hugh. These contrasted with her disdain of and trash-talking about men’s sexual appetites and failings; and suspicions of Leopold’s infidelity.

The fabulous foursome ensemble is a delight. Performing with exuberance (and I saw a 10 p.m. show), playfulness and sharp wit—going from delicious gossip to suspicious rage and sensuous memory—all rounded with a sharp, sardonic, bawdy sense of humour and a slumber party atmosphere. Each actor highlights an aspect of Molly’s personality: Hyde’s ferocity, Maripuu’s pragmatism, Spitzer’s playfulness and Tuma’s sardonic edge—all played out with commitment, good humour, mischief and youthful energy. The action is nicely complemented by Beatriz Arevalo’s set and costume design; the sensuous quality of the bed, covered with a mountain of multi-coloured pillows, surrounded by light translucent curtains, contrast with the more chaste pajamas. And the pre-show thunderstorm soundtrack mirrors the torrential storm and power of Molly’s thoughts and feelings, a peek into the action to come.

Don’t worry if you haven’t read Ulysses (I haven’t); the program provides descriptions of the characters Molly references, along with a brief history of her life.

Molly Bloom continues at the Helen Gardiner Phelan Playhouse until July 13; check the show page for exact dates/times and advance tickets.