Identity, community & calling shenanigans on BS in the raw, real, nostalgic Situational Anarchy

 Graham Isador in Situational Anarchy

 

Pressgang Theatre joins forces with Pandemic Theatre to present Graham Isador’s one-man work of creative non-fiction Situational Anarchy, direction/dramaturgy by Tom Arthur Davis and Jivesh Parasram, and opening last night at Stop Drop N Roll.

Autobiographical, with an altered timeline and an amalgamation of several bands that were seminal in Isador’s life, Situational Anarchy is part self-discovery, part confession, and part ‘fuck you’ to betrayal and bullshit.

From the thoughtful, curious 11-year-old whose mind is blown when his mum gets real about his grade 6 music performance, to the awkward, large and bullied kid stumbling onto puberty, Graham is searching for meaning and desperate to belong. Try as he may, he can’t seem to find his place and almost checks out—then he discovers the punk band Against Me and its lead singer Laura Jane Grace, who later transitioned from male to female. Beyond the music, the social activism and humanity of this world resonate strongly.

His joy at discovering the music and the message increases when he finds community in the band’s online chatroom—and the cool, fun, smart Mouse, who lives in LA and steals his heart. Things fall apart when he gets caught up in Mouse’s unhealthy body image lifestyle and Against Me signs with Warner Music—which he views as a sell-out, as Warner also owns CNN—and he loses that online community and Mouse. Things come to a violent head when he drops by a local punk bar. It’s definitely not the community he knows and loves. Drafting a letter to Laura Jane Grace throughout, his correspondence serves as a framework for his story. And he’s calling bullshit on her. Years later, he takes a job interviewing her. So much to say.

Staged with multiple microphones, Situational Anarchy is a punk rock solo theatre piece. Isador’s performance is genuine, raw and personal, revealing a dark, edgy sense of humour and a profound longing to connect and belong. Weaving stories of coming of age, body image, homophobia, music and activism, he opens and closes his heart and mind to us in a funny and heart-breaking, at times violent, misfit’s journey of storytelling—reminding us of the power of music and message to inspire and unite.

With shouts to the design/running team: Ron Kelly (sound), Laura Warren (lighting/projection) and Heather Bellingham (stage manager).

Identity, community and calling shenanigans on bullshit in the raw, real, nostalgic Situational Anarchy.

Situational Anarchy continues at Stop Drop N Roll (300 College St., Toronto—above Rancho Relaxo) until June 3. Tickets at the door are Pay What You Want; advance tickets available online for $15. Heads-up: Seating very limited; only 25 seats per night.

All proceeds from the show (after expenses) will be donated to Trans Lifeline [US: (877) 565-8860 Canada: (877) 330-6366] and Gender is Over.

The closing performance will be followed by a set from Stuck Out Here.

Advertisements

Toronto Fringe NSTF: An intense, startling & thought-provoking look at sexual violence in DINK

DINK-250x250Theatre-a-go-go explores the themes of sexual violence, society’s response and the celebrity of the villain in Caroline Azar’s DINK, on at the Factory Theatre Mainspace for the Next Stage Theatre Festival.

Inspired by the real-life case of former Canadian Forces Colonel Russell Williams, as well as incidents of missing/murdered women from marginalized communities/ethnicities, and the societal/social media bullying and shaming of victims and the families of the accused, DINK (the acronym for Double Income No Kids) is part drama/part musical/part social commentary, with songs by Azar, S. Lewis and sound designer Richard Feren.

Over lunch, a workout and shopping at Holt’s, sisters Lolly (Christy Bruce) and Deb (Sharon Heldt) talk about Lolly’s recent home security measures as daughter Bethany (Jasmine Chen) is being stalked, while Deb is up to her eyeballs with home renovation and contractors. Deb’s husband Bill (David Keeley) is a proud military man who’s served in Afghanistan, a sweetheart with his wife, but under investigation by homicide detective Matt De Souza (Kris Siddiqi) over two missing/murdered women who served under him: soldier Danielle (D.T.) Bryce (Andrea Brown) and Tim Hortons server Izzy Melisano (Lise Cormier).

The action shifts between present-day scenes in multiple scenarios and flashbacks from the past, as well as musical numbers featuring various characters, but mainly the two murder victims Danielle and Izzy (where the song breaks work best). The effect is disturbing, distracting and disorienting.

DINK highlights how victimization goes beyond the missing/murdered women to take in their families, the families of the predator (who are often blamed for not seeing what was going on and failing to blow the whistle) and the investigators. The play also sets out to raise up the victims of sexual violence – including moments of empowerment, some imaginary – and put the predator down. The serial killer, while his actions are monstrous, is not a monster – just a man. A very sick man and, in the end, a pathetic man lost in his revolting and dangerous obsessions and desires. The celebrity of the serial killer – and real-life villains in general – is a symptom of social illness.

Excellent work from the cast. Bruce brings a jaded, tired quality to Lolly, a fiercely protective mother with a wry wit, and an ineffective husband (invisible to us, but present in scenes of one-sided conversation). Heldt’s Deb is brash, irreverently funny and creative, an adoring wife throwing her energy into creating the perfect oasis at home. Keeley does a very nice job with Bill’s double life: a sweet and attentive husband at home; a misogynistic, homophobic bully of a commanding officer on the job, covering even darker activities in his personal time. Siddiqi brings a nicely layered quality to Detective De Souza, a good cop struggling with his personal, if not questionable, relationship with Izzy as he conducts the investigation. Brown’s Danielle is strong, cocky and direct, a woman of courage and conviction; and Cormier brings an intelligent, precocious charm to the adventurous Izzy. Chen does a lovely job with Bethany’s conflicted responses to her situation; a smart, imaginative and energetic teen – but, like her mother and aunt, the pressure of pretending that everything is alright becomes too much to bear and boils over.

DINK is an intense, startling and thought-provoking piece that reminds us to put our focus on the victims and their families – and cautions us on how we respond to the perpetrators and their families.

DINK continues its run until Sun, Jan 18 – book advance tix here.

SummerWorks: Joy, energy & pathos in If Hearts Could Bloom

HERO-if-hearts-could-bloom-620x500
Amy Wong & Tamara Kailas

Another delightful group of young actors opened their SummerWorks show at the Scotiabank Studio Theatre at the Pia Bouman last night: the Sears Drama Festival production of Bur Oak Secondary School’s show If Hearts Could Bloom, written by James Croker and Cameron Ferguson, inspired by a story by Preston Lam.

Directed by Ferguson, with choreography by Ferguson, Croker and Christel Bartelse, and film directed by Cody Clayton, If Hearts Could Bloom combines clown, comedia and physical theatre to tell a story that tackles some serious issues: individuality/conformity, bullying/courage, sexism and harassment, ageism, greed and power, and gender identity.

A short, silent film sets the stage for the social order of this world. A Mad Scientist (Jeremy Chong) creates clowns with yellow hearts, but when he tries something different – a purple heart that makes the clown behave differently than the others – Corporate Greed Man (Jeremy Tremblett) responds with an emphatic No! The Mad Scientist caves in, apparently needing the money, and goes back to using yellow hearts. And off we go, into the live onstage journey of a special young clown, born with a purple heart.

There are some truly lovely moments in this show: the sweet, fast-paced meeting, courtship, marriage and arrival of a baby for Everyperson’s Mom (Kainaat Rizvi) and Dad (Cody Clayton) – and the delivery scene with the Doctor (Shareesa Haniff) was hilarious. And Everyperson (Tamara Kailas) and Everywoman (Amy Wong) had an equally adorable meet cute at a children’s birthday party, where Everywoman is the only kid who doesn’t think Everyperson is a freak; the two actors did a lovely job with this bashful, burgeoning relationship. I also loved the school bus bit and the clown Elvis (Bianca Dias, who also co-directed the film segment) at the variety show, as well as the squeals of delight from Everyperson’s rubber chicken bit – the laughter was contagious. This is a show that keeps the audience engaged and attentive, and you never know what’s going to happen next. Ultimately, this is a show about love and courage.

If Hearts Could Bloom is a hilariously funny, sweetly poignant and thought-provoking multi-media clown show, featuring a bright young cast who bring all the joy, energy and pathos.

If Hearts Could Bloom continues its run for two more performances at the Scotiabank Studio Theatre at the Pia Bouman: tonight (Fri, Aug 15) at 7:30 p.m. and Sat, Aug 16 at 1:30 p.m.