Whooping it up like it’s 1926 in the entertaining, intriguing Hogtown: The Immersive Experience

Mark Prince, Dan Willmott & Jerome Bourgault in Hogtown—photo by Sam Gaetz Photography

Back by popular demand, The Hogtown Collective returns to Campbell House Museum for a new run of Hogtown: The Immersive Experience—written by Drew Carnwath and Sam Rosenthal, and directed by Rosenthal—with new stories and adventures as the audience finds new intrigue and secrets around every corner and behind every closed door.

It`s the eve of the 1926 municipal election, and union boss Bob Delacourt (Dan Willmott) is hosting a big shindig at his home. The incumbent, conservative prohibitionist Mayor Thomas Foster (Jerome Bourgault) is up against the progressive, union- and booze-friendly Sam McBride (Mark Prince). And everyone`s making backroom deals, including McBride`s fierce wife Fanny (Kirstin Hinton).

Meanwhile, local scribe Ben Stein (Gord Gammie) divides his time between covering the event and wooing the McBrides’ daughter Ronnie (Sappho Hansen Smythe), a modern young woman with dreams of becoming a famous reporter. And country bumpkin brothers, the clumsy Tanner (Jonathon Ellul) and malapropism-dropping Jackson (Derek Keurvorst) Busch have high hopes of making loads of cash from their home-cooked hooch; and the menacing Gil Schwartz (Jorge Molina) hopes to get in on some big time gangster action with the rumoured arrival of Chicago rum-runner Franco Vitale (is he really there or not?).

The action starts out on the lawn around the house, as we take in various goings-on and meet some of the key players. Once inside, we are ushered in groups from room to room, getting the opportunity to see three different scenes. My group first entered the dining room, where the McBrides were hosting an intimate gathering of friends and supporters, including Delacourt, developer Lol Solman (Keurvorst) and clergyman Eddie Smalls (Ben Bain). It’s all aces until they’re interrupted by the appearance of a surprise guest—and it’s Mrs. McBride who’s the most infuriated by this unexpected arrival.

Upstairs, the Women’s Christian Temperance Union is having a meeting. Chaired by the imperious Mary O’Grady Hunt (Tara Baxendale), assisted by her demure daughter Eleanor (Jaymee Fuczek) and radical colleague Pauline Drabble (Andrea Irwin), these ladies are hell-bent on spoiling the fun. Even here, there is division on how to best accomplish their goal of keeping prohibition alive and getting Foster re-elected. Even O’Grady Hunt has a secret, which we learn by way of confession and cautionary tale when she has a mother to daughter sit-down with Eleanor, who she fears is getting too friendly with Lulu and Toni.

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Laura Larson, Karen Slater & Emmea Wiechers—photo by Sam Gaetz Photography

Downstairs in the gaming room, Shwartz is waiting on the outcome of some bets—and we’re ushered over to the basement speakeasy when his private meeting arrives. Over in the speakeasy, we can buy yourself a prohibited beverage while we wrap your ears around some hot jazz, courtesy of Cali-Mays Johnson (Michelle Piller) and her girls, accompanied by Colin Frotten on the ivories. It’s here that we learn that Foster’s daughter Maddy (Karen Slater) is working as a singer, and has set up a meeting with Dr. Libby Prowse (Claire Francis Muir) via her pal Anastasia (Emma Wiechers). Don’t worry, barkeep Mad Tom (Michael Lamport) is the soul of discretion, and Katie O’Malley (Susie Burnett) can find you some company or place your bets.

Then, we are invited to wander the house to discover what we may. Upstairs, baseball star Tommy Burt’s (Eric McDace) secret is revealed even as he discovers the secret of another; and his attempt to solicit help from Solman takes an unexpected turn. Wayward Catholic schoolgirls and wanna-be flappers Louise “Lulu” (Laura Larson) and Antoinette “Toni” (Arinea Hermans) may be okay on the dance floor as they try out for jobs in the speakeasy, but they may be in over their heads when it comes to handsome Tommy—lucky for them Detective Hank Dyer (Matt Richardson, also the fight director) steps in. And across the hall at the latest temperance meeting, Pauline makes a dramatic revelation as to how far she’s willing to go for the cause.

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Sappho Hansen Smythe & Michael Lamport—photo by Sam Gaetz Photographer

It’s an entertaining and exciting ride. You never know who you’ll encounter or what’s going to happen. And everyone has a secret. The ensemble is fantastic—genuine and engaging storytellers fully inhabiting their characters, interacting on occasion with the audience (we are instructed to only speak when spoken to) to pull us into the story in an up-close and personal way. The show features several musical numbers, with stand-out vocals from Slater, Piller and Baxendale; and a charming duet from McDace and Hansen Smythe, as Tommy, feeling the pressures of external expectation, finds a kindred spirit in Ronnie McBride.

Secrets, back room deals and home-made hooch. Whooping it up like it’s 1926 in the entertaining, intriguing Hogtown: The Immersive Experience.

Hogtown continues at Campbell House till August 20; advance ticket booking strongly recommended—it’s a very popular show. Please note the 7:30pm start time; get there by 7:15pm to see the outdoor scenes. Get a taste from the trailer:

 

 

Top 10 theatre 2016

Hope everyone’s been enjoying the holiday season. As we say goodbye to 2016 (for better or worse), it’s time for the annual top 10 theatre list. As usual, this is always a challenging endeavour, so I’ve added a few honourable mentions (in alphabetical order):

Top 10 theatre 2016

Blind Date (queer version): Spontaneous Theatre & Buddies in Bad Times Theatre

Chasse-Galerie: Kabin, Storefront Theatre & Soulpepper

Chelsea Hotel: The Songs of Leonard Cohen: Theatre 20, The Firehall Arts Centre & Theatre Passe Muraille

The Harrowing of Brimstone McReedy: Eldritch Theatre

The Hogtown Experience: The Hogtown Collective & Campbell House Museum

Late Night: Theatre Brouhaha & Zoomer LIVE Theatre

Mouthpiece: Quote Unquote Collective & Nightwood Theatre

The Queen’s Conjuror: Circlesnake Productions

She Mami Wata and the Pussy Witchhunt: The Watah Theatre

The Summoned: Tarragon Theatre

Honourable mention

The Clergy Project:  SOULO Theatre

Killer Joe: Coal Mine Theatre

The Taming of the Shrew: Driftwood Theatre Group

Three Men in a Boat: Pea Green Theatre

Up next: The Next Stage Theatre Festival (NSTF), running January 4 – 15, 2017 at Factory Theatre.

The Hogtown Experience is the bee’s knees!

hogtown - speakeasy
Laura Larson (as Anastasia Petrov), Dov Mickelson (as Tracey Doyle) & Aisha Jarvis (as Sally Styles) – photos by Joseph Hammond

Better late to the party than never – I finally got out to see the Hogtown Experience at Campbell House Museum last night. And what a party it was!

Written by Drew Carnwath and Sam Rosenthal, and directed by Rosenthal, assisted by Nicola Pantin, the Hogtown Experience is an immersive, site-specific theatrical event that puts you in the middle of the action, which includes over 30 actors and live music, as you rub elbows with politicians, union muscle, gangsters, speakeasy girls, temperance ladies, party girls, moonshiners, a lady doctor and a baseball star.

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David Rosser as Sam McBride

When you arrive at Campbell House (I’d suggest getting there half an hour before show time), you may wander the grounds and the house. Catch some jazz in the basement speakeasy or get an early introduction to some of the characters on the front lawn, where the Temperance ladies are protesting the evils of drink, and mayoral candidate Sam McBride (David Rosser) and his wife Fanny (Kirstin Rae Hinton) are greeting and glad-handing, and the small-town Busch brothers (Matthew Bradley and Tim Ziegler) are anxiously anticipating a meeting with Delacourt to pitch their moonshine. Or wander towards the back, where the Schwartz brothers (Scott McCulloch and Jorge Molina) talk business and the wily, opportunistic Tracey Doyle (Dov Mickelson) inspects his girls before they start their shift – one of which (Anastasia, played by Laura Harding in last night’s performance) makes an appointment with the friendly, socially aware local doctor Libby Prowse (Lori Nancy Kalamanski) for her friend/co-worker Maddy (Lea Beauvais). And there’s a rambunctious, playful and strange little girl (Claire Frances Muir) running around there too.

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Dana Fradkin (as Ronnie McBride) & Drew Carnwath (as Ben Stein)

Newspaper man Ben Stein (Carnwath), who’s dating the McBride’s daughter Ronnie (Sappho Hansen Smythe,* who has been playing the role this summer), gives us an introduction and some ground rules. We are here for a party at the home of union boss Bob Delacourt (David Keeley) on the night before the 1926 municipal election, where the conservative, tee-totalling, penny-pinching incumbent Mayor Thomas Foster (Jerome Bourgault) is up against the more progressive, alcohol-friendly and forward-thinking McBride. From there, the audience is divided into three groups, and each group is guided to a room in the house to start their rotation of three scenes. You may speak to the characters, but only when spoken to.

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Jerome Bourgault as Thomas Foster

My group was first taken upstairs to the ballroom, to a meeting of the Christian Women’s Temperance Union, led by the imperious President Mary O’Grady Hunt (Tara Baxendale), where we hear anecdotes of personal family tragedy that resulted from intoxication. We were then treated to a lively and intense dining room scene, where the McBrides and their supporters – including Delacourt, who remained eerily silent and stone-faced – toasted their good fortune, and a surprise guest made an appearance, decidedly spoiling the good cheer. Then it was down to the games room, where our cheeky hostess Katie (Siobhan Richardson) took all bets, including one from the jovial Police Chief Draper (Robert Clarke); and over to the speakeasy for drinks (cash bar, where you can order wine in a teacup or a can of beer in a paper bag) and music, overseen and kept running smoothly by the tough, but gentleman-like Donato Granta (Conrad Bergschneider).

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David Keeley as Bob Delacourt

From there, where you go and what you see is up to you. You are encouraged to give rein to curiosity and follow characters, open doors – and see what you may find. Young love. Backroom deals upon backroom deals. Desperate, last-ditch efforts to win a race. One of the speakeasy girls in trouble. You won’t be able to catch everything, and you may want to see the show more than once; to this end, keep your program (handed out as you leave) and that will serve as your discount voucher for your next visit. And with all the election and boozy shenanigans – not to mention the red hot jazz – you may want to take them up on that deal.

An outstanding ensemble and fabulous music, creating a unique, intriguing and engaging theatrical experience, and a colourful taste of 1920s Toronto. This humble scribe had a marvelous time at the pre-election soiree at Campbell House last night. The Hogtown Experience is the bee’s knees – go see it!

The Hogtown Experience runs until August 28 at Campbell House Museum; performance info and advance tickets here; otherwise, it’s cash only at the gate.

In the meantime, you can keep up with Hogtown on Twitter and Facebook; and check out the show trailer:

* Department of Corrections: The role of Ronnie McBride, previously attributed to Dana Fradkin, was actually played by Sappho Hansen Smythe. Due to the scope of the show and the size of the ensemble, there is a rotating cast, so some characters are played by different actors, depending on when you see the show.

Fear & loathing in real estate with a damn fine all-female cast in Jet Girls Productions’ Glengarry Glen Ross

GlengarryPosterOnline-1 - smallAnd the Mametpalooza continues over at Red Sandcastle Theatre. (I saw Headstrong Collective’s marvelous production of Boston Marriage at Campbell House Museum last Saturday.) This time, it’s Jet Girls Productions’ ballsy all-female production of David Mamet’s Glengarry Glen Ross, directed by Anita La Selva.

With this world premiere of the gender switched Glengarry Glen Ross, Jet Girls has a very ambitious first production on their hands – and they weren’t permitted to change a word of the script. The result is powerful, thought-provoking, darkly funny and more than a bit jarring.

Joining director La Selva on this journey is a fine ensemble of local female actors (in order of appearance): Elizabeth Saunders (Shelly Levene), Julie Brar (John Williamson and co-founder of Jet Girls), Françoise Balthazar (David Moss), Laurel Paetz (George Aaronow), Marianne Sawchuk (Richard Roma and co-founder of Jet Girls), Rosemary Doyle (James Lingk and A.D. of Red Sandcastle Theatre) and Robinne Fanfair (Detective Baylen).

With none of the text altered – including character names – and the men replaced with women, the raw and often brutal language of the play comes across as all the more harsh. Violent verbal exchanges highlighted with name-calling and profanity hit harder coming from the mouths of women, but at the same time there is an unsettling naturalism about it. These are women struggling for survival in a merciless, dog eat dog business driven by the mantra “Always Be Closing.” You don’t close, you don’t eat. Slogging through lists of dead leads in hard, changing economic times, the futility and desperation is palpable. Make no mistake, this is no mere cat fight – competition is fierce and it’s the law of the jungle here.

As Shelly “The Machine” Levene, Saunders gives us a compelling and poignant portrait of a salesperson past her prime, an old-school practitioner struggling along the rat race, ravenously desperate to break a losing streak, and avoid falling into despair. Brar does a lovely job with the aloof, pompous young pup Williamson, revealing hints of ruthlessness and entitlement beneath the cool professional exterior. Balthazar gives a riveting performance as Moss; by turns a rampaging bear and snake-like manipulator, there is something of the ticking time bomb in her. Paetz gives nice layers to Aaronow, Moss’s sidekick; mousey in her righteous indignation over the poor state of their leads, and an easy mark for Moss’s machinations – but this mouse wants to roar when she’s backed into a corner. Sawchuk mesmerizes as the slick operator Roma. All sex and charisma, smooth and sharp and the same time, she is a master of language, flirtation and flattery – anything to get what she wants. As Roma’s mark Lingk, Doyle brings a lovely combination of frumpy, gullible naiveté and a devil may care yearning for adventure to this sexually repressed, hen-pecked woman – but is not beyond standing her ground, albeit on shaky legs, when her place in the world becomes threatened. Very nice work from Fanfair as the no-nonsense, unflappable Detective Baylen; while professional in demeanour, she will brook no shenanigans from this group of real estate hustlers during her investigation.

With shouts to costume designer Jan Venus for the sharp, evocative 80s wardrobe.

Fear and loathing in real estate with a damn fine all-lady cast in Jet Girls Productions’ Glengarry Glen Ross. Get yourself out to Red Sandcastle Theatre to see this.

Glengarry Glen Ross runs at Red Sandcastle until April 26. For advance tix, call 416-845-9411 or email redsandcastletheatre@gmail.com

Razor sharp, mercurial wit as two women spar around their love in Boston Marriage

Boston Marriage
Deborah Drakeford, Catherine McNally & that infamous necklace in Boston Marriage – photo by Bonnie Anderson

There’s a wee Mametpalooza happening in Toronto right now, with two exciting productions of David Mamet plays, featuring some fine local female actors: Headstrong Collective’s Boston Marriage at Campbell House Museum and an all-female cast in Glengarry Glen Ross at Red Sandcastle Theatre. I saw Headstrong’s Boston Marriage, directed by Kelli Fox, last night.

Intimately staged in the parlour on the main floor of Campbell House Museum, the audience is seated along two walls, giving us a fly on the wall view of the proceedings.
This is an unusual play for Mamet: for its all-female cast and period setting. This is Mamet meets the Victorians – and the result is an interesting, if not anachronistic, piece of theatre featuring brilliant, almost Cowardesque, dialogue. At times the language of the drawing room, then lyrical or profane – it is fast-paced, unapologetic, erotic and even harsh on occasion.

Two particular friends reunite after being apart for some time. Anna (Catherine McNally) receives Claire (Deborah Drakeford) into her home, a home that is subsidized by Anna’s “protector,” a married man who’s taken her as his mistress. Claire has a favour to ask: she needs a place in which to have a private liaison with a younger love interest. The discussion that follows is less about the tenancy agreement and more about their relationship.

And then there’s that necklace. Sometimes, a gorgeous necklace can be way more trouble than it’s worth. Anna’s protector has gifted her a lovely emerald necklace, and this decision sets off a series of misadventure that pulls the women’s focus from their current desires and into damage control.

Throughout the exchanges of acerbic wit and lightning fast rapport, there is a poignant underpinning of desperation and loneliness as we watch Anna and Claire get reacquainted. Opposites in many ways, but so alike as they both struggle, as unmarried women, to survive – all the while fearing that their best years are behind them. Like Dorothy at the beginning of The Wizard of Oz, grasping for a true happiness that they believe lies beyond their own backyard. And while Anna’s young maid Catherine (Charlotte Dennis) is of the servant class, they can’t help but envy her youth – now in the first blossom of love and lust – and the fact that she has her whole life ahead of her even as a good portion of theirs is in the past.

Brought into the production by actors McNally and Drakeford, Fox is a thoroughly good match for this play and this cast. You can read Fox’s thoughts about Mamet and Boston Marriage in Jon Kaplan’s preview interview for NOW Magazine.

McNally and Drakeford give powerhouse performances, nicely supported by Dennis. McNally’s Anna has a delicious dramatic flair, yet is conventional and pragmatic in her way, deftly aware of the economics of her situation, and deeply hurt by Claire’s revelation of a new, and very young, love. As Claire, Drakeford has a lovely bohemian edge; fiercely independent and sensual, she has the air of an adventuress about her – as well as the hopeless romantic. You can picture Anna and Claire meeting at an art college, dreams of their future together opening up before them as their love grows. But then, paths diverge only to reconnect years later – and with very different lives. Even after their long separation, their conversation is the quixotic shorthand of good friends, slowed down only somewhat by moments of grasping for words, as we gals of a certain age are wont to do. Dennis is a delight as the saucy Scottish maid Catherine; fearless and outspoken in her naiveté, but not as clueless as she sometimes appears. And she gets an earful – and likely an education – with her employer’s goings-on.

It’s razor sharp, mercurial wit tinged with poignancy as two women spar with time and each other as they talk around their love in this marvelous production of Boston Marriage.

Boston Marriage continues at Campbell House until April 26. Seating is limited, so advance booking is strongly recommended. Get yourselves out to Campbell House to see this. You can get tickets online here.

In the meantime, you can check out the interviews with Fox, McNally and Drakeford on Headstrong Collective’s YouTube channel.