Ancestors calling on a hero’s journey through fear to true self in the engaging, powerful 11:11

Samson Bonkeabantu Brown. Set design by d’bi.young anitafrika. Costume design by Samson Bonkeabantu Brown. Lighting design by André du Toit. Photo by Brett Haynes.

 

A.V.O. Collective brings the world premiere of its engaging, powerful production of 11:11, presented as part of Why Not Theatre’s RISER Project 2019, to the Theatre Centre’s Incubator stage. Written/performed by trans-identified artist Samson Bonkeabantu Brown and dramaturged/directed by d’bi.young anitafrika, 11:11 is a bio-mythical monodrama journey, stretching across time, space, and the realms of life and afterlife, as our hero connects with his Portuguese and South African ancestors, and moves through fear to become the man he was meant to be.

In a one-person show that encompasses both broad and immediate personal history, Brown draws out his tale as he gradually constructs a pattern on the floor with white stones. Incorporating storytelling, history, movement, ritual, language and music, he shape shifts in and out of a cast of characters that include the precocious, curious seven-year-old girl he once was and the joyful, prophesying, matter-of-fact South African ancestor he’s about to meet.

Becoming a bridge between past and present, female and male, he connects with the spirit world through dreams and visions—and gradually the messages become clear as the little girl who experiences strange dreams and headaches, and is shunned in the schoolyard, grows up and comes to learn that there’s nothing medically wrong with her. She is a receiver, a prophecy made flesh, a shape shifter.

In a world where white men divided up a continent they claimed as their own, and forced their alphabet onto environment-based African dialects—and, later, Western medicine onto African descendants—how does our hero reconcile his connections to both the colonized and the colonizer? And, through the pain of the struggle for true identity, and the ancestral pain of apartheid and displacement, he comes to realize the complex—and even contradictory—aspects of identity and experience that have combined to create him.

1111 by Samson Bonkeabantu Brown (featuring Samson Bonkeabantu Brown) photo by Brett Haynes #2
Samson Bonkeabantu Brown. Set design by d’bi.young anitafrika. Costume design by Samson Bonkeabantu Brown. Lighting design by André du Toit. Photo by Brett Haynes.

Brown, who recently wrote for/performed in the RARE Theatre/Soulpepper production Welcome to my Underworld, is a compelling and entertaining storyteller. Engaging, bold, unashamed and vulnerable, he invites us along on his journey—part autobiography, part personal mythology, part history lesson, part supernatural revelation—as he connects with his roots and finds his true rhythm. From the child-like playfulness of a little girl to the wry-witted wisdom of an elder, the fear, confusion, joy and humour Brown expresses throughout resonate in a deeply profound, intimate way. And I know I wasn’t the only one in tears at the end.

11:11 continues in the Incubator at the Theatre Centre until June 1, with performances on:

Tuesday, May 28 – 6:00PM
Wednesday, May 29 – 9:00PM
Thursday, May 30 – 6:00PM
Friday, May 31 – 9:00PM
Saturday, June 1 – 6:00PM

Tickets available online, in person at the box office, or by calling 416-538-0988.

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Memories of grade 6 & the search for identity in the brave, endearing, immersive ERASER

Clockwise from top centre: Christol Bryan, Marina Gomes, Yousef Kadoura, Tijiki Morris, Nathan Redburn & Anthony Perpuse. Set & costume design by Christine Urquhart. Lighting design by Rebecca Vandevelde. Photo by Sam Gaetz.

 

Eraser Theatre brings the world premiere of its immersive production ERASER, presented as part of Why Not Theatre’s RISER Project 2019, to The Theatre Centre’s Incubator stage. Created by the ensemble, along with director/choreographer team Bilal Baig and Sadie Epstein-Fine, ERASER invites the audience into the world of the six performers’ grade 6 memories and fantasies, weaving their individual experiences together as their young student selves navigate their tween lives and struggle to figure out who they want to be.

The endearing, brave, high-energy ensemble features Christol Bryan (Whitney, the Queen Bee), Marina Gomes (Tara, the Know-it-all), Yousef Kadoura (Jihad, the Follower), Tijiki Morris (Afroze, the New Kid), Anthony Perpuse (Eli, the Space Cadet) and Nathan Redburn (Noah, the Sad One). As you enter the theatre space, you’re given a lanyard that bears the name and image of one of the students; this student will be your guide throughout the experience, and you’re invited to join them in their space before the action begins.

ERASER - Anthony Perpuse
Anthony Perpuse. Set & costume design by Christine Urquhart. Lighting design by Rebecca Vandevelde. Photo by Sam Gaetz.

I was put on team Eli (Perpuse), and we joined him in his room, hanging out and getting to know him before the start of the new school year. A gayby kid of Filipino heritage, nearly 12-year-old Eli has two moms—with one mom’s brother being the sperm donor for the other mom’s pregnancy. He’s a chill, affable, curious kid who loves to hang out in his room, stretching and playing video games, especially Pokémon; and he’s got a nostalgic side, favouring games he played as a kid (i.e., an even younger kid).

Audience members following a character* become that student’s group of friends, their confidantes, their posse—and we follow them through the sixth grade minefield of gym and math class, the cafeteria and playground, class presentations, a game of Truth or Dare, and a school dance. Each character reads as an archetype for someone you surely knew—or maybe even were—in grade 6 yourself; interesting dynamics emerge, and theories and rumours abound. How did Noah’s brother die? What’s the deal with the new kid? Who has a crush on whom? Who’s failing math?

The remarkable ensemble invites us in as they open their hearts, minds and sixth grade experiences to us. The six individual stories are woven together with scenes, movement and audience interaction—with engaging and moving results; and the appearance of their teacher, Miss Hall, is indicated with the footstep sounds of her heels. Bryan’s Whitney may be the alpha kid on the playground, but her confident, take-charge demeanour masks the profound sense of frustration and oppression she, the only Black kid in the class, feels over being singled out for discipline when the whole class was involved. Gomes’s A-student Tara relishes learning and academic success, and dreams of becoming an important political figure—while, underneath it all, she just wants to belong and have a nice, cute boyfriend. Kadoura’s Jihad, who wears a prosthetic leg, seems happy to follow his friends, yet he’s the one they call upon to approach the new kid; he has a big, open heart and a supportive network, but you get the sense that he’s struggling with his place in the world.

Morris’s Afroze, a white girl raised in Pakistan, is navigating both culture shock and being the new kid in a group of kids who’ve grown up with each other. Struggling to make friends as her classmates treat her like some strange, exotic creature, she holds the familiar comforts of home close as she works out a way to fit in to this new world. Perpuse’s laid back Eli reveals a pensive, sensitive soul struggling with math class—and wondering why his friend Noah is ignoring him after they got so close over the summer. Sometimes, Eli needs to give himself a time out from it all, craving a solitary moment so he can sort things out in his head, or let his pent-up frustration safely erupt. And Redburn’s Noah desperately wants his life to just get back to normal after his brother died this past summer; reaching out, then pulling away from his friend Eli as he grapples with grief, loss and attraction.

If you’re an adult audience member, you may find yourself becoming that kid you were in grade 6—or at least remembering what it was like. The emerging hormones and curiosity about sex, the gossip and note passing, the mortifying shyness at the school dance, the joyful fantasies of future success, and fears of failure or having your most secret desires made public. Some of it comes to matter deeply, some of it doesn’t. And while each audience member will experience the show in their own personal way, everyone will take away something from the experience.

ERASER continues in the Incubator at the Theatre Centre until May 14, with performances May 10, 11 and 13 at 7:00, and matinées on May 9, 11 and 14 at 2:00 (with a 30-minute talkback following matinées). Tickets available online, in person at the box office, or by calling 416-538-0988.

*There is seating for those with mobility issues; they will have a good vantage point—and, in some cases, the action will come to them.

Nostalgia meets the ghosts of memory in the funny, poignant, authentically human New Magic Valley Fun Town

Caroline Gillis, Andrew Moodie, Daniel MacIvor & Stephanie MacDonald. Set design by Brian Perchaluk. Costume design by Brenda McLean. Lighting design by Kimberly Purtell. Photo by Cylla von Tiedemann.

 

Prairie Theatre Exchange and Tarragon Theatre join forces to present the Toronto premiere of Daniel MacIvor’s New Magic Valley Fun Town, directed by Richard Rose, assisted by Audrey Dwyer; opening last night in the Tarragon Theatre Mainspace. Equal parts funny and poignant, it’s an authentically human story of nostalgia and ghosts of the past as the kitchen party reunion between two childhood friends reveals some unwelcome memories.

In small-town Nova Scotia, cancer survivor Dougie (Daniel MacIvor) lives in a spotless double-wide trailer, separated from his wife Cheryl (Caroline Gillis), who’s stayed in their family home in town. Their young adult daughter Sandy (Stephanie MacDonald) is on a break from her English lit thesis to manage some mental health issues. Dougie is anxiously awaiting the arrival of Allen (Andrew Moodie), a friend from childhood and one of the few Black residents of the town back in the day, who moved on to become an English professor at U of T.

Dougie and Allen haven’t seen each other for 35 years, and their reunion—initially rife with awkward excitement, vintage music, drinking and dancing—takes a dark turn as painful, secret memories emerge. Dougie is dealing with his sense of mortality and Allen needs to get something off his chest; and lifelong feelings of deep-seated anger, shame and longing bubble to the surface.

Daniel-MacIvor-and-Andrew-Moodie-in-New-Magic-Valley-Fun-Town-photo-by-Cylla-von-Tiedemann-1024x690
Daniel MacIvor & Andrew Moodie. Set design by Brian Perchaluk. Costume design by Brenda McLean. Lighting design by Kimberly Purtell. Photo by Cylla von Tiedemann.

Beautiful performances from this ensemble, enacting a marathon of emotional experience and responses. MacIvor is a compelling, high-energy presence as the tightly wound Dougie; obsessively neat and wanting things to be perfect for Allen, Dougie appears to have channelled his nervous energy into preparations for the visit—but we learn that this behaviour pre-dates his cancer diagnosis, going back to adolescence. Moodie’s calm, introspective Allen is equally gripping; perfectly complementing the frenetic Dougie, the emotionally contained Allen is bursting with the buried feelings of distant, disturbing memories—memories that are excavated and brought to the surface during this fateful visit, and intersect with his experience of being Black in a small town.

Gillis is loveably quirky and as the cheerful, attentive Cheryl; a protective wife and mother who’s at a loss as to how to help her husband and daughter, her positive demeanour masks the pain within, and she finds solace and community in the local Catholic church. MacDonald gives a hilariously playful, irreverent and sweetly poignant performance as Sandy; a post-grad student with the heart of a poet, Sandy is navigating her own illness, even as she continues to reach out to connect with her ailing father.

The classic 70s vintage vibe of Brian Perchaluk’s set design and Don Benedictson’s original music and sound design (those of a certain age were singing along with the pre-show tunes) combine nicely with Brenda McLean’s modern-day costume design, and the realism and cathartic magic of Kim Purtell’s lighting.

Each of these characters is reaching out for connection from a place of profound aloneness. And, while the deeper meaning of the titular amusement park of childhood memory is revealed—not new, magic, a valley, fun or a town—there’s strength and resilience in the present, and hope for the future, as these characters move towards light and closure.

New Magic Valley Fun Town continues in the Tarragon Theatre Mainspace until March 31; get advance tickets online or contact the box office at 416-531-1827.