Tragic Indigenous love story & pointed satire in the profoundly moving, playful, poetic Almighty Voice and His Wife

 

James Dallas Smith & Michaela Washburn. Set & video design by Ken MacKenzie. Costume design by Kinoo Arcentales. Lighting design by Jennifer Lennon. Photo by Dahlia Katz.

 

Biography meets pointed satire in Soulpepper’s production of Daniel David Moses’ Almighty Voice and His Wife; directed by Jani Lauzon, who performed in the Great Canadian Theatre Company’s premiere production 28 years ago, the show is currently running at the Young Centre. Using the tragic Indigenous love story of real-life Cree runner and hunter Almighty Voice and his wife White Girl as a starting point, the storytelling shifts from linear narrative to cutting vaudevillian send-up as the play dives deep into the contemporary reverberations of the ongoing clashes between European and Indigenous ways of life—and the oppression, ignorance and stereotyping that go with it. Profoundly moving, playful and poetic, it’s a poignant and magical theatrical work featuring some uncomfortable truths and discomfiting comic jabs.

Almighty Voice (James Dallas Smith) and White Girl (Michaela Washburn) are magnetically drawn to each other, his playful courtship breaking through her stern sense of decorum. Although a very young woman, she’s nobody’s fool; her experience of the world forever changed by her time in a Residential School. And as he expresses baffled irreverence for the ways of the white settlers and government, transforming hunting grounds into farmland, she is haunted by the white man’s “glass god” who watches over everything they do. Both have been given European names by the white authorities: he has been called Jean-Baptiste and she Marie; a proud and respected Cree man, he insists on his true name, Almighty Voice.

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James Dallas Smith. Set & video design by Ken MacKenzie. Costume design by Kinoo Arcentales. Lighting design by Jennifer Lennon. Photo by Dahlia Katz.

Arrested for shooting a cow for a feast, when he sees a scaffold being erected outside the jail, Almighty Voice hears that he will hang for his crime—a cruel joke that sets into motion a series of tragic events. On the run from the law, White Girl insists on coming with him; and things go from bad to worse when he kills a Mountie in self-defence. When she becomes pregnant, she must let him go on alone while she returns to family to give birth to their child. In the end, he and two warrior friends are killed in a stand-off with 100 Mounties and a cannon, the two lovers getting a final glimpse of each other in visions at the moment of his death, his infant son left without a father and their people starving as hunting grounds are replaced with farmland.

Act II shifts into razor-sharp satire, structured as a vaudeville performance. Here, Ghost (Smith) is the spirit of Almighty Voice, at first acting as the disoriented straight man to the saucy uniformed Interlocutor (Washburn), then gradually getting more familiar and comfortable with the performance style. The antiquated slapstick and bawdy theatrics shine a glaring spotlight on ongoing historical and contemporary clashes between European settler culture and government and Canada’s Indigenous Peoples. Scathing social commentary makes for some uncomfortable moments of dark comedy, as the “Show Indian” performs traditional dances and situation comedy making fun of Indigenous Peoples, and takes hits for the entertainment of the masses. And then, the tables are turned—and all the horrible stereotypes, prejudice and name-calling generated by European oppressors against Indigenous Peoples reverse course and land squarely on the Interlocutor.

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Michaela Washburn. Set & video design by Ken MacKenzie. Costume design by Kinoo Arcentales. Lighting design by Jennifer Lennon. Photo by Dahlia Katz.

Beautiful, compelling performances from Smith and Washburn in this epic, poetic and profoundly moving piece of storytelling. Smith brings a playful, impish charm to the proud, determined Almighty Voice, sparking both comedy and passion alongside Washburn’s fierce, strong-willed, resilient White Girl. A perfect match of complementary, courageous kindred spirits, Almighty Voice’s irreverent, almost devil-may-care attitude is in stark contrast to his wife’s wary caution, borne of her lived experience at a Residential School. During Act II, the two actors demonstrate considerable comedic chops with vintage mercurial banter, slapstick antics and satirical characterizations. The comedy is dark, pointed and often discomfiting in its racist oppressor jibes at Indigenous Peoples. And a surprising transformation takes place as the tables are turned on the authoritarian soldier Interlocutor.

The evocative, well-crafted work of the design team is in great evidence here, creating an atmosphere of heightened reality and vaudevillian showmanship. Ken MacKenzie’s set and video design is particularly stunning; the backdrop of the set is from the point of view of looking up at the sky through the smoke hole of a teepee. And the glowing, shifting full moon projection adds to the magic, poetry and natural wonder inherent in the storytelling.

Uncomfortable truths told with an epic love story and sharp wit. Go see this.

Almighty Voice and His Wife continues at the Young Centre until November 10; advance tickets available online, or by calling the box office at 416-866-8666 or 1-888-898-1188. Last night’s (Tuesday) performance was sold out, so advance booking strongly recommended to avoid disappointment.

ICYMI: Spotlight on director Jani Lauzon in Intermission Magazine.

And check out the trailer:

 

Living with ghosts of crimes past in the haunting, darkly funny, immersive The Good Thief

David Mackett. Photo by Allison Bjerkseth.

 

Fly on the Wall Theatre presents Conor McPherson’s The Good Thief, directed by Rod Ceballos and running at the Dora Keogh Irish Pub (141 Danforth Ave., Toronto, east of Broadview). Featuring an outstanding performance from David Mackett, this haunting, darkly funny, immersive piece of solo storytelling goes to Heaven and Hell and back again before it lands solidly in Purgatory. Part personal anecdote, part confessional, a low-level thief recounts numerous past sins, brief glimpses at redemption and the ghosts that haunt him to this day.

Order a pint, pull up a chair and hear The Narrator (David Mackett), a low-level criminal specializing in thievery and intimidation, tell his tale of life, love, criminal misadventure, narrow misses, crazy good luck and heartbreaking tragedy as a standard scare job goes sideways—and he ends up on the run with the target’s wife and young daughter. Suspecting that he’s been double-crossed by his powerful boss Joe Murphy—now the boyfriend of his ex Greta—and betrayed by his partners in crime, he finds himself being pursued for kidnapping. Trying to keep himself, Mrs. Mitchell and Neve out of harm’s way, he finds sanctuary in the country with the help of his buddy Jeff, the three have a moment of respite. Until all Hell breaks loose again.

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David Mackett. Photo by Allison Bjerkseth.

Mackett gives a compelling, entertaining and poignant performance throughout, playing all the notes between black and white of this deeply flawed, irreverent but sympathetic character. Haunted, torn, conflicted and resourceful, our scrappy thug of a Narrator is a charming rogue of a fellow; recognizing his flaws, he’s candid—sometimes brutally so—circumspect and self-aware. Trying to do the right thing, even as he’s committing a crime, and thwarted by forces beyond his control, he’s faced with the double-sided coin of good luck and bad luck as he savours rare moments of beauty and tranquility, and mourns the senseless moments of violence and loss.

As The Narrator looks back on his life, and his part in these events, he finds he must eventually face up to what he’s done—for better or worse—and find a way to live with the ghosts and regrets, and try to make up for it somehow.  And, to varying degrees, the same could be said of us all.

The Good Thief continues at the Dora Keogh until October 29; advance tickets available online. It’s an intimate venue, so advance booking or early arrival recommended; box office opens a half hour before show time.

SummerWorks: Running away to home in the fierce, funny, inspiring, socially aware The Breath Between

Fio Yang. Photo by Saba Akhtar.

 

The AMY Project returns to SummerWorks, this year with a journey of belonging and identity as a group of BIPOC, 2LGBTQ women and non-binary youth living in a world ravaged by climate change venture out in search of a place where they can feel safe and welcome to be themselves. The fierce, funny, inspiring and socially aware The Breath Between, directed by kumari giles and Julia Hune-Brown, assisted by Jamie Milay, and created by the ensemble, opened last night in The Theatre Centre Incubator.

In a post-apocalyptic world where climate change has destroyed the planet and forced the population to live under protective domes, the queer community gathers to dance and celebrate at Dome Pride. Growing increasingly disillusioned and disappointed about the over-the-top corporate branding and ownership—not to mention the $17 bottled water—and mainstream packaging of the event meant to “normalize” queer culture, a group of young BIPOC and 2LGBTQ women and non-binary youth decide to blow this corporate logo-ridden popsicle stand and search for a better place. Hijacking a spaceship on display at the event, and joined by the chirpy host inspired by their cause, they venture out to explore worlds beyond to find a place where they can feel safe and welcome. The trip brings some twists, turns and revelations as they share and discover themselves.

The bright, energetic and engaging ensemble includes Jericho Allick (mentored by Neema Bickersteth), nevada jane arlow (mentored by Susanna Fournier), Alice Cheng Meiqing (mentored by Courtney Ch’ng Lancaster), Lyla Sherbin (mentored by Avery Jean Brennan), Fio Yang (mentored by Maddie Bautista), Whitney Nicole Peterkin and Megan Legesse; with additional writing by Taranjot Bamrah, A.C., Daniella Leacock and Claudia Liz. Incorporating music, poetry and monologues, the performers invite us into their individual worlds as they share memories and lived experiences—for better or worse. There is pain, longing and shame—but there is also resilience, ferocity and hope; all peppered with astute and darkly comic acknowledgments of the negative impacts of extreme climate change and the corporate branding of events that were once community-organized, grassroots movements.

While they may leave the Dome feeling like a spaceship full of misfit toys, the group ends up finding community and chosen family—and faces the choice of returning home or continuing their off-world exploration. Nicely book-ended by songs performed by Fio Yang, you may find yourself humming Out in the City as you leave the theatre.

Go where you are welcome—or take space where you like? In the end, home is where your family is, whether biological or chosen, and you can spark the change you want to see.

The Breath Between has three more performances in the Incubator space at The Theatre Centre, closing on August 16; check the show page for exact dates/times. Tickets available online or in person at the box office.

All’s Well That Ends Well adaptation a delightfully dark comedic romp with a twist

Christopher Mott, Chanakya Mukherjee & Liz Der. Photo by Stevie Baker.

 

Dauntless City Theatre is back at Berczy Park (aka the dog fountain park across from the St. Lawrence Centre) with a delightful immersive, site-specific adaptation of Shakespeare’s All’s Well That Ends Well. Adapted and directed by Scott Emerson Moyle, assisted by Jordi O’Dael, this version of the play is queer, twisty, darkly funny—and calls out bad behaviour—in an intimate, energetic romp of sauce and wit that’s part cautionary tale, part dark comedy.

Helena (a feisty, resilient turn from Liz Der) has recently lost her father, a skilled and respected doctor, and is now the ward of the recently widowed Countess Rousillon (Andrea Lyons is a treat in this edgy, hilarious performance), whose son Bertram (played with sneering pride and entitlement by Chanakya Mukherjee) is now the new Count. Helena is hopelessly and secretly in love with Bertram, but dares not hope for a match, as she is not noble-born. She is, however, very skilled in the healing arts; and when news arrives that the King of France (played with imperiousness tempered by warmth by Christopher Mott) has been very ill with no cure in sight, she sees a way to prove her worth to Bertram, who has travelled to the French court with his BFF Parolles (a cheeky, lovable scoundrel, played with gusto by Annelise Hawrylak).

Despite his skepticism after many failed treatments administered by many learned men, the King agrees to Helena’s treatment—and rewards her success by offering her the choice of any man in court for her husband. Taking this opportunity, she chooses Bertram; and when he rudely refuses her proposal, the King forces him into marriage. With war brewing in Florence, Parolles sees a way out and suggests that she and Bertram leave France and join the army. They do so, with Bertram leaving word with Helena that he will be her husband only if she successfully completes the impossible task of getting a ring from him and getting pregnant with his child. Helena pursues Bertram to France and, with the help of the independent and savvy innkeeper Diana (Melanie Leon), who Bertram has been doggedly pursuing to bed, hatches a plan to make the impossible possible.

Rounding out the company are Eric Benson as the priggish, arrogant M. LaFeu, an elder courtier at the Countess’s home; Tallan Alexander as Lavatch, the Countess’s saucy valet; and Holly Wyder as the spritely, guitar playing Dumaine the Younger and Anthony Botelho as the cheeky, trumpeter Dumaine the Elder, sibling messengers and our guides around the park.

And just as Helena and Diana put one over on Bertram, Parolles’ fellow soldiers (Lyons, Mott, Alexander and Benson) pull some trickery on him, revealing his true character. Prideful and careless of others, both Bertram and Parolles fall hard, and must surrender to their respective fates in the end. And an unexpected match is made in the process.

Part cautionary tale, part dark comedy, the energetic and entertaining ensemble keeps us on our toes—literally and figuratively—with twisting plot turns, and hilarious battles of words and wits; with some characters thinking and acting with their hearts and others working from somewhere decidedly south of there. Sharp-witted skills at verbal thrust and parry is in great evidence between Hawrylak’s Parolles and Benson’s M. LaFeu, as well as Hawrylak and Der’s Helena, and Lyons’ Countess and Alexander’s Lavatch. And Der’s performance is a great combination of love-struck and determination in Helena’s one-sided attentions to Bertram, and keen debate and care with the King—all while trying to prove herself worthy of Bertram’s love, which he clearly doesn’t want or deserve.

The adaptation lives up to the title, connecting us with the story in an intimate and contemporary way in an immersive, site-specific production that incorporates gender-bending casting, queer twists and calling out bad behaviour. The underlying misogyny and classism get big time push-back with powerful, capable and intelligent female and queer characters who ain’t taking no guff. (And with a female Parolles, we’re also reminded that even women can be dicks.) Beware of the proud and scornful, and the braggart cowards—and the proud and scornful mustn’t underestimate the smart and resourceful, no matter what their station. And don’t waste your talent and affection on someone who doesn’t care for or deserve you.

All’s Well That Ends Well continues in Berczy Park until August 25, with Friday and Saturday evening performances at 7:30 pm (except for Fri, Aug 9); and Saturday and Sunday matinees at 1:00 p.m. Admission is pay what you can (PWYC), suggested $20 per person; look for the Dauntless City Theatre banner, east of the fountain.

 

Department of Corrections: The original post had matinee performances listed at 1:30 p.m.; they’re actually at 1:00 p.m. This has been corrected.

Toronto Fringe: Telling stories in the darkly funny, quirky, satirical News Play

Clockwise from bottom: Andrew Cromwell, Rouvan Silogix, Greg Solomon, Madeleine Brown & Charlin McIsaac. Photo by Graham Isador.

 

Theatre ARTaud and Lal Mirch Productions, in association with Prairie Fire, Please give us a dark satirical look at storytelling and journalism in Madeleine Brown’s sharply funny, quirky, edgy News Play, directed by Aaron Jan and running at the Annex Theatre.

Brother and sister children’s book team, illustrator Phoebus (Greg Solomon) and writer Joy (Charlin McIsaac), have hit a wall in their career; the fire woman superhero featured in their books is scaring kids and making them feel bad about themselves. When they return to their hometown Peterborough to visit their cousin Winny (Madeleine Brown), a troubled pyromaniac since the death of her parents in a fire when they were all kids—and the inspiration for their work—they find themselves suddenly becoming journalists. Winny’s recent fire escapade accidentally killed two Peterborough Examiner reporters, and Editor in Chief Art (Andrew Cromwell), former classmate and school bully, blackmails them into working for him in exchange for not suing Winny. The goal: sell 100 papers.

The siblings’ first assignment is producing an exciting piece about a local natural landmark—a big rock. They strike gold when Winny injures her hand while punching it, spinning the event into a story of significant bravery and resilience, while also making the town’s “crazy fire girl” look good in the media. This inspires local charity organizer Lyle (Rouvan Silogix) into inviting Winny to be the torch putter-outer at an upcoming event supporting those who’ve soldiered through personal injury.

Things go from crazy to bad to worse when Joy decides to take things to the next level. How far will she go for subject matter that people will want to read? Will her relationship with her brother, who’s against her increasingly extreme methods, be the same? And will their cousin Winny survive it all?

Great work from the cast is this sharp satirical trip. McIsaac and Solomon are great foils as the positive, cheerful Joy and the cynical, edgy Phoebus. Brown gives a lovely vulnerable performance as the shy, awkward Winny, who really does have reserves of strength that largely go unnoticed; still living in a town where everyone thinks she’s crazy, Winny perseveres because it’s her home. Cromwell plays the edge of menacing bully and charming manipulator as Art; you can tell immediately that Art was the school bully, and he’s desperate and amoral enough to go along with whatever scheme will sell newspapers. And Silogix gives lovely comic turns as the clueless, enthusiastic charity organizer Lyle and the gruff Greyhound bus driver.

Telling stories, making up stories and reporting stories—sometimes, they can overlap and get all mixed up. Are we fetishizing personal injury in our news media and charities? And is fake news, however small and local, ever harmless?

News Play continues at the Annex Theatre until July 13; check the show page for exact dates/times and advance tickets.

A family slogs through the fallout of mental illness & tragedy in the brutally honest, wry-witted And So It Goes

Left: Deborah Drakeford & Scott McCulloch. Right: Tyshia Drake & Dan Willmott. Set & costume design by Kelly Wolf. Scenic art by Ksenia Ivanova. Lighting design by Chin Palipane. Photos by John Gundy.

 

Kyanite Theatre presents George F. Walker’s And So It Goes, directed by Walker, assisted by Martha Moldaver—running in the Pia Bouman Scotiabank Studio. A brutally honest, wry-witted family tragicomedy, the play’s title was inspired by a line from Kurt Vonnegut’s Slaughterhouse Five; and delivers the signature Walker punch to the gut realism with a side of dark humour, to highlight a critical social issue—in this case, the impact of a child’s mental illness on an already struggling family.

Karen (Tyshia Drake) is tormented with thoughts of people out to do her harm, while her father Ned (Dan Willmott) struggles to make ends meet after getting laid off his job as a financial advisor; and mother Gwen (Deborah Drakeford), a former Latin teacher, is at her wits end trying to maintain order amid the chaos. Charged with several alleged assaults, Karen is diagnosed with schizophrenia, a finding she neither accepts nor complies with—refusing to take her meds, and shutting herself off from her well-meaning good cop dad and controlling bad cop mom. In the background of this family’s life is an estranged son, who we never meet, who left home when Karen’s condition began to emerge. And then there’s Gwen’s imaginary confessor/therapist Kurt Vonnegut (Scott McCulloch), who she confides in—trading contradictory thoughts between glasses of white wine as she grapples with the fear and frustration of a world that’s gradually falling apart.

The upbeat Ned goes back to school to earn a pastry chef certificate; but even his positive outlook can’t withstand the family tragedy and financial ruin that ensues. Sifting through the debris of their lives for a way out—and who is to blame—he too reaches out to Vonnegut for advice. And acquires a gun. Gwen finds new footing with Karen as she begins to loosen her vice-like grip on the carefully tended middle-class world she once knew. As Gwen and Ned’s lives spiral downward to hit rock bottom, Ned hardens and Gwen softens. And the only directions from there appear to be out or up.

Lovely, heart-wrenching work from this ensemble in this fast-paced “life’s cocktail” of laughter and tears, and how humans cope with the fallout of tragedy and the destruction of the world as they know it. Drake is heartbreaking as the tormented Karen, who knows that something’s not right, but refuses to accept her diagnosis. The paranoia and voices in Karen’s head torture and exhaust her—aptly mirrored by Jeremy Hutton’s sound design, which features rapid-fire sound bites about mental illness and the negative impact on the economy and productivity, as well as the pervasiveness of depression and its connection to the current unemployment/EI situation.

Willmott’s Ned is a big, lovable bear of a dad with an equally big heart; the protective “good cop” parent in this family dynamic, Ned stays positive despite his daughter’s illness and wife’s sharp criticism. But even his sunny disposition loses its shine as their lives take a desperate turn—and he must decide if he will apply equally desperate measures. Drakeford’s Gwen is aggravating and deeply poignant; bitter, exhausted and longing for things to get back to normal, Gwen is the bad cop and harsh realist of the family. Desperately trying to put this family’s broken life back together, Gwen’s hyper-rational, sharp edges melt as she begins to let go and look for a new way to live. And McCulloch is a wry-witted, debating delight as Vonnegut; playing Devil’s Advocate and acting as a sound board for both Gwen and Ned, the imaginary friend and ghost Vonnegut is filtered through the thoughts and perceptions of whoever summons him.

Guns or lemon tarts? When faced with personal tragedy in the face of a society that’s losing its social conscience and sense of civility, we have the choice to descend into darkness or rise up into the light. And strive to build a new world from the rubble. One thing’s for certain: we need to pay more attention and apply more care to those who are losing their lives to mental illness, unemployment and despair.

And So It Goes continues in the Pia Bouman Scotiabank Studio until May 26, with evening performances Wed-Sat at 8:00; and matinées on Sat, May 18 and Sun, May 26 at 2:00. Advance tickets available online or pay cash at the door.

In the meantime, check out Arpita Ghosal’s interview with actor Deborah Drakeford in Sesaya.

Absurd, uncomfortable & ultimately human interactions in the darkly funny, unsettling Little Menace: Pinter Plays

Diego Matamoros, Alex McCooeye, Gregory Prest & Maev Beaty. Set & costume design by Shannon Lea Doyle. Lighting design by Simon Rossiter. Photo by Dahlia Katz.

 

Soulpepper opened its darkly funny, unsettling buffet of short Pinter plays at the Young Centre last night with Harold Pinter’s Little Menace: Pinter Plays, directed by Thomas Moschopoulos; and featuring 10 short pieces played out in 14 scenes over the course of 90 minutes. The short, pointed examinations of human interaction are at times absurd, uncomfortable and even surreal—and, in the end, ultimately human.

Little Menace: Pinter Plays features Trouble in the Works, Last to Go, Special Offer, That’s Your Trouble, New World Order, Victoria Station, Apart from That, The Press Conference, The Basement and Night; New World Order appears twice, switching up the actors and the scenario, and Apart from That is played out in four variations, aptly bookending the performance. The impressive four-member ensemble includes Maev Beaty, Diego Matamoros, Alex McCooeye and Gregory Prest.

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Alex McCooeye & Gregory Prest. Set & costume design by Shannon Lea Doyle. Lighting design by Simon Rossiter. Photo by Dahlia Katz.

Ranging from the bizarre in the hilarious mundanity of the workplace in Trouble in the Works (played with bang-on dead pan and impressive articulation by Matamoros and Prest) and the unlikely but tempting weirdness of Special Offer (a wry, incredulous Beaty, playing a high-level professional); to the sharply funny failures to communicate in Apart from That (all four actors, in four different pairings of beautifully awkward, polite exchanges where no one really says anything) and the ‘Who’s on First’ vibe between dispatcher and taxi driver in Victoria Station (Matamoros as the gruff dispatcher at his wit’s end and McCooeye as the child-like, simple driver), Little Menace highlights the awkwardness and missed connections in our day-to-day communication.

The discomfiting scenarios of personal and political dominance in The Basement (ensemble), the menace of terrible things to come in New World Order (McCooeye and Prest in a thuggish turn that goes from darkly funny to plain dark when they switch up roles and include Matamoros as a hostage in the second incarnation), and the sharply funny satire of a civil servant working in the culture sector in Press Conference (featuring a chilling matter-of-fact Matamoros as the civil servant) look at the darker sides of human connection. And the lovely nostalgia of Night highlights how even cherished reminiscences between a loving couple (Beaty and Matamoros, in a beautifully quiet, intimate performance) can be mixed up or forgotten altogether.

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Diego Matamoros & Maev Beaty. Set & costume design by Shannon Lea Doyle. Lighting design by Simon Rossiter. Photo by Dahlia Katz.

Stellar, compelling performances from the ensemble in this intimate, often raw series of short plays—showcasing the range of the talent on stage in performances of authentic nuance and intense rawness. Nicely supported by the sharply modern, sterile—open concept, yet claustrophobic—set and neutral grayscale of the costumes (both designed by Shannon Lea Doyle); and Simon Rossiter’s shadow-casting, modern aesthetic, sometimes intensely interrogative, lighting design.

What’s real? What’s true? What the hell is going on? Even in the most everyday, mundane situations, we’re a strange lot; and there’s a lot that goes on between the lines and in those awkward silences as we get caught up in our own fears and the various eccentricities of our inner worlds. And that’s a huge part of what makes us human.

Little Menace: Pinter Plays continues at the Young Centre until March 10; advance tickets available online, or by calling the box office at 416-866-8666 or 1-888-898-1188.