Past & present collide as the walls come down in the compelling, intimate Agency

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Earl Pastko, Ben Sanders & Eva Barrie in Agency – photo by Greg Wong

Yell Rebel opened its production of Eva Barrie’s Agency, directed by Megan Watson, in The Theatre Centre Incubator space last Thursday; I caught the show last night.

Searching for answers about the fate of her father Peter (Ben Sanders), Hannah (Eva Barrie) arrives at a Berlin travel agency looking for Thomas (Earl Pastko). Armed with conflicting reports and evidence, and only vague memories, Hannah is determined to find the truth. Convinced that her father may still be alive, the man Hannah seeks answers from was her father’s friend and co-worker – and also a Stasi informant. A story woven across time, through the fall of the Berlin Wall and the historical reunification of Berlin, Agency shows us a world of greys – where nothing is as simple as it appears to be, and where good intentions can come to haunt and hurt.

Shifting across time and space, Agency plays out in intimate two-handers: mainly between Hannah and Thomas in the present, and Thomas and Peter in the past; in some cases, overlapping on the playing space as Thomas recalls a conversation with Peter as he speaks with Hannah.

Lovely, strong work from the cast here. Pastko’s Thomas acts as the bridge between past and present; unflinchingly calm and introverted, there is a kind sweetness beneath that gruff, old-school exterior. An adept spy, he’s struggled to find a way to use his covert talents for good. Barrie’s Hannah is all youthful, haunted energy; fragile and uncertain for all her bravado and research, she longs for the truth and gets more than she bargained for. And Sanders gives us an optimistic, charming and extroverted Peter; acting on instinct and hoping for the best, Peter’s sense of hopefulness and love is put to the test.

In his or her own way each is seeking reconciliation and redemption through these revelations. And, like the birds that repeatedly fly into the agency office windows, they’re butting up against the invisible walls that keep them apart.

Past and present collide as the walls come down in the compelling, intimate Agency.

Agency continues in The Theatre Centre Incubator until Nov 20; get your tix in advance online. Please note the early start times: 7 p.m. for evening performances and 1 p.m. for matinées.

Keep up with Yell Rebel on Twitter and Facebook.

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StageWorks Toronto’s Cabaret: Sexy, powerful and boldly staged with a sharp ensemble

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Toshi Murohashi, Jean-Paul Parker & Rachel Hart in Cabaret – photo by Michael Yaneff, Foreshots Photography

Berlin in the early 1930s: a city teaming with life, creativity and possibility. The Kit Kat Klub: a seedy palace of edgy, playful and raunchy entertainment. And a political storm is brewing that will change everything.

StageWorks Toronto opened its fifth musical, Kander and Ebb’s Cabaret (book by Joe Masteroff, based on the play by John Van Druten and stories by Christopher Isherwood), at the George Ignatieff Theatre last night.

Directed by Michael Yaneff, with Music Director Tom Kerr and Choreographer Camille Dziewurski, this production of Cabaret plays all the conflicting dimensions of this story: love and lust, fame and mediocrity, hope and despair. It is both funny and moving, going from entertaining to disturbing – but even the brighter moments have a dark edge.

An excellent, energetic cast does the playful raunch with gusto – and all the while, we know these characters are literally singing and dancing, and sexing, for their lives. The lighter, entertaining atmosphere of the first act grows increasingly foreboding as darkness descends in the second act when the Nazi Party gets a grip on Germany – and this place of song, dance and camaraderie becomes a place of tears, desperation and betrayal. This production goes big on the seedy lust and malevolent politics in its staging, so be prepared for some nudity, sexy times and discomfiting moments.

Shai Tannyan & Hugh Ritchie in Cabaret - photo by Michael Yaneff, Foreshots Photography
Shai Tannyan & Hugh Ritchie in Cabaret – photo by Michael Yaneff, Foreshots Photography

Jean-Paul Parker shines as the Emcee, going from playfully saucy in “Wilkommen” and naughty in “Two Ladies” to darkly edgy in “The Money Song” and drunkenly despairing in “I Don’t Care Much.” Shai Tannyan’s Sally Bowles is a vivacious and sensuous British girl gone wild in her search for fame and fortune on her own terms, her flippant attitude covering a fragile heart. From her sexy crooning at the Kit Kat, to her more introspective moments in the driven but vulnerable “Maybe this Time” and the spiralling desperation of “Cabaret,” Tannyan finds the diva entertainer and the lost girl in Sally. As Cliff Bradshaw, Hugh Ritchie doesn’t get as many opportunities to sing as he did as the Balladeer in StageWorks’ Assassins, but he gives a strong performance as the wide-eyed, passionate and somewhat naïve young novelist who comes to Berlin longing for adventure and excitement, and experience – be careful what you wish for.

Deva Neely and Buck Delaney have lovely chemistry as landlady Fraulein Schneider and her fruit seller tenant Herr Schultz, making an adorable couple with “It Couldn’t Please Me More;” and when their relationship goes off the rails, Neely gives a heartbreaking performance with “What Would You Do?” And really nice work from Eric Synnott as the affable, mysterious and crisp Ernst Ludwig, and Melly Magrath as the cheeky and opportunistic Fraulein Kost.

With shouts to the sexy fun talents of the Kit Kat Boys and Girls: Michael Manning (who stepped in to cover another part last night – thoughts go out to Paul Silvestri and his family) and Danik McAfee (who, as the Soldier, also gives an eerily beautiful, foreshadowing performance of “Tomorrow Belongs to Me”), Emily Brown, Kathleen Doerkson, Karen Frank, Rachel Hart, Toshie Murohashi and Émilie O’Brien; and Lawrence Stevenson as their stern and lascivious boss, Kit Kat owner Max.

And shouts as well to set/costume designer Michelle Tracey and the orchestra.

StageWorks Toronto’s Cabaret is sexy, powerful and boldly staged – featuring a sharp ensemble.

Cabaret runs at the George Ignatieff Theatre until July 26; you can purchase tix in advance online. And you can follow StageWorks Toronto on Facebook and Twitter.