A photo album of family, love & memento mori in the profoundly moving, nostalgic, candid Dividing Lines/Líneas Divisorias

Beatriz Pizano & Julia (projected photo). Scenography by Trevor Schwellnus, with associate lighting designer Rebecca Vandevelde. Costume design by Andjelija Djuric. Photo by Jeremy Mimnagh.

 

“They say blood is thicker than water —
I say, love is thicker than blood.”

Aluna Theatre premieres Beatriz Pizano’s Dividing Lines/Líneas Divisorias, a photo album of family, love and memento mori; written and performed by Pizano, and created with director Trevor Schwellnus and composer/sound designer Brandon Miguel Valdivia, and running now at The Theatre Centre.

Losing her mother when she was a toddler, Pizano was adopted by her Aunt Julia and Uncle Jorge after her “Marlboro Man” father took off, leaving her and her two siblings behind—and a deep and lasting connection evolved with her new parents. Years later, after Pizano has moved to Canada, when an aged, widowed Julia drifts away in a lost, confused haze of dementia, she keeps her promise, returning home again and again to be with Julia during her “Calvary.” Weaving a personal history of distant and recent past—from her years growing up with Julia in Columbia to travelling back and forth from Canada during Julia’s final years, to and from hospital and nursing home; Pizano shifts from romantic nostalgia to harsh, heartbreaking life and death reality. And then, a chance meeting with a doctor at the nursing home—there to perform euthanasia on another patient—and an act of love, mercy and personal sacrifice to make a decision for a loved one who is unable to do so.

dividing lines
Beatriz Pizano. Scenography by Trevor Schwellnus, with associate lighting designer Rebecca Vandevelde. Costume design by Andjelija Djuric. Photo by Jeremy Mimnagh.

Incorporating photographs and props, projected on a row of overlapping burlap legs that flare out and merge together on the floor, we see an evolving collage of life and family—from the broad strokes of wide-ranging world events to the God-is-in-the-details moments and wisdom of shared lives. The storytelling, relayed in English and sometimes Spanish, is visually rich; full of a lust for life, liberty and equality; and resonating with the music of childhood and the revolution—and, ultimately, with hope and closure. Pizano gives us a deeply personal, candid, raw and romantic—at times interactive—performance; balanced with a cheeky sense of irreverence where religion is concerned, and a revolutionary bohemian spirit when it comes to class and politics.

Part personal memory play, part confessional, part memorial, Dividing Lines/Líneas Divisorias reminds us that the one thing that’s certain in life—and we all have in common—is that we die. What would you do for a loved one who’s lost to the world, incapacitated and in pain—to set them free?

Dividing Lines/Líneas Divisorias is in its final week, closing on December 2. Advance tickets available online or by calling The Theatre Centre’s Box Office at 416-538-0988.

Check out this CBC piece on Dividing Lines/Líneas Divisorias, including Matt Galloway’s interview with Beatriz Pizano on Metro Morning.

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Hamlet as you’ve never seen it in the haunting, beautiful ASL/English adaptation Prince Hamlet

Christine Horne as Hamlet in Prince Hamlet—photo by Bronwen Sharp

 

Why Not Theatre mounts Ravi Jain’s exciting bilingual (ASL and English) adaptation of Shakespeare’s Hamlet with its production of Prince Hamlet, directed by Jain; and currently running at the Theatre Centre.

This production has already been garnering some well-deserved buzz. Not only does Prince Hamlet make the Shakespeare classic accessible for Deaf audiences, it addresses issues of diversity and inclusion in casting, particularly for the largely white, male, Eurocentric, and hearing, classics. Jain’s text adeptly shifts scenes (Horatio’s speech to Fortinbras, usually seen at the end of the play, is used as an introduction, with Horatio addressing the audience), and effectively interweaves scenes of action with those of corresponding exposition (Horatio and the guards encountering/reporting of the ghost, as well as moments/reports of Hamlet’s erratic behaviour) in an engaging and theatrical way. We also see scenes from different perspectives—and it’s all performed by an outstanding ensemble of actors, with female actors taking on a number of male roles and a male actor playing Ophelia.

The program provides a handy synopsis of the play, which I will not replay here; if you need a refresher or you’re new to Hamlet, you can also check out the Wikipedia page. What is remarkable about this production is that Horatio (played by Deaf actor Dawn Jani Birley) is featured prominently; our narrator, he is both witness to and interpreter of (signing much of the text) Hamlet’s (Christine Horne) story. ASL is incorporated into the dialogue in a seamless, inclusive way that reveals relationships, in that Horatio is understood by Hamlet when he signs, and Hamlet communicates with him in both English and ASL. In many respects, the story is told from Horatio’s point of view—culminating in that fateful final scene where the dead outnumber the living and, one of the few still standing, Horatio bids a tearful farewell to his friend.

Joining Birley and Horne for this journey of revenge, reflections on mortality and tragedy are Miriam Fernandes (Rosencrantz, Player King, Gravedigger), Jeff Ho (Ophelia), Hannah Miller (Guildenstern, Player Queen), Rick Roberts (Claudius), Khadijah Roberts-Abdullah (Laertes), Karen Robinson (Gertrude) and Maria Vacratsis (Polonius); all actors play their respective characters as originally written and all introduce themselves in ASL at the top of the show. These are actors playing characters, and regardless of gender casting, each brings a grounded, genuine and unique interpretation of the person they’re playing. And this cast looks like the people we see every day in our city.

Horne gives us a compelling and moving Hamlet, bringing a fragile edge to his melancholy, countered by a sharp, wry sense of humour. This adaptation has Horne also playing the ghost of Hamlet’s father, an interesting choice that evokes dark moments of possession. A bashful and cheeky romantic in love with Ophelia, playful and candid with his bosom friend Horatio, and poetic in his philosophical inner debates on revenge and mortality, this is a Hamlet for the 21st century.

PRINCE HAMLET-Dawn Jani Birley as Horatio-photo Bronwen Sharp
Dawn Jani Birley as Horatio—photo by Bronwen Sharp

Birley’s complex, conflicted Horatio is both a part of and witness to the tragedy that unfolds. Also acting as our host and guide, Horatio signs his dialogue and translates the text into ASL throughout, including some brilliant comic relief during one of Hamlet’s encounters with Rosencrantz and Guildenstern. She gives a gripping interpretation of the fight scene between Hamlet and Laertes, and her “Goodnight, sweet Prince” is both beautiful and heart-breaking.

As Gertrude, Robinson brings a sharply drawn evolution to the relationship with Claudius, from giddy in love to devastated and horrified. Concerned for the welfare her son throughout, Gertrude finds herself faced with a choice between her new husband and her son. Roberts gives us a big, lusty Claudius; living the dream until he’s called out by Hamlet’s carefully crafted play presentation. In a moving and tortured prayer scene, dejected and unable to repent, Claudius realizes he’s unwilling to give up the spoils of his crime, resorting to further treachery and cover-ups.

PRINCE HAMLET-(standing) Karen Robinson as Gertrude, Rick Roberts as Claudius, (kneeling) Jeff Ho as Ophelia, Khadijah Roberts-Abdullah as Laertes-photo Bronwen Sharp
Foreground: Jeff Ho as Ophelia & Khadijah Roberts-Abdullah as Laertes; Background: Karen Robinson as Gertrude & Rick Roberts as Claudius—photo by Bronwen Sharp

Ho is lovely as the playful, but delicate Ophelia, whose descent into madness is both heartbreaking and disturbing. Vacratsis is hilariously wordy and sharply academic as Polonius; decidedly not a man of few words, he nevertheless has wisdom to impart, as evidenced in his famous advice to Laertes. And Roberts-Abdullah gives Laertes a fierce edge under that affable, good son exterior; belly full of fire, he’s hell-bent on revenge for his father and sister, but never loses his sense of fairness.

Fernandes and Miller do a great job juggling multiple roles; Fernandes is great fun as the impudent, philosophical Gravedigger and Miller brings a sense of sass to Hamlet’s pal Guildenstern.

With big shouts to the design team for their rich, evocative work on this production: Lorenzo Savoini (set and costumes), André du Toit (lighting) and Thomas Ryder Payne (sound).

Hamlet as you’ve never seen it in the haunting, beautiful ASL/English adaptation Prince Hamlet.

Prince Hamlet continues at the Theatre Centre until April 29; get advance tickets online.

Check out this conversation (in ASL and English, with subtitles and interpreter voice-over) between director Ravi Jain and actor Dawn Jani Birley for Intermission Magazine.