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):
A challenging play to produce for modern-day audiences, given its dynamic of patriarchal dominance tinged with misogyny, Smith and company decided to take the opportunity to present the play from a contemporary point of view, exploring themes of identity, consent and equality.
Set in 1989, Lucentio (Fiona Sauder) and Tranio (Paolo Santalucia) travel from small-town Ontario to Toronto to experience the sights, sounds and possible romantic entanglements of Pride. Upon their arrival, they witness a family matter gone public, as Baptista (Renée Hackett) engages in a battle of words with Hortensio (Drew O’Hara) and Gremio (played by various company members, in mask), both would-be suitors to her youngest daughter Bianca (Tahirih Vejdani). Baptista refuses to let anyone marry Bianca until her eldest daughter, the wild Katharine (Siobhan Richardson) is wed first, an edict which prompts Hortensio to enlist the aid of his old friend Petruchio (Geoffrey Armour), newly arrived from Hamilton, recently furnished with a great inheritance after his father’s death and seeking a wife.
In the meantime, Lucentio has fallen for Bianca, and they* and Tranio devise a plan to woo her, whereby they switch identities so Tranio can present Lucentio as a tutor to Baptista’s household. Meanwhile, Petruchio and Hortensio have hatched a similar plan, placing Hortensio as a music teacher. The initial spark between Petruchio and Katharine becomes apparent as they begin a game of wits and dominance. They marry on the day of the Pride Parade, and he immediately takes her away to his home in Hamilton where he begins the process of taming her as the two test their boundaries. Add to this wacky mix are two Vincentio’s (Lucentio’s father): a pedant enlisted by Tranio to play the part in order to validate the dowry offer and the real Vincentio, who arrives searching for his child.
Artfully staged, with a minimalist set comprised of modular, movable Tetris pieces (designed by Smith), and utilizing commedia dell’arte masks (for Gremio, Vincentio and the various servants, each played by various members of the company), puppetry, inventive props, and outrageous and colourful 80s costuming (Melanie McNeill), Driftwood’s The Taming of the Shrew challenges our preconceived notions of this play in a battle of equals, loving who they want to love and how they want to love.
Shouts to an outstanding ensemble, with its high-energy performances and totally rad a cappella renderings of favourite 80s pop tunes (arrangements by Tom Lillington). Armour is both charming and rough as Petruchio, a ruffian with a loving disposition beneath the lusty denim and flannel exterior. Richardson is fierce and unforgiving as the neglected Katherine, whose heart longs for love beneath that scrappy attitude; she consents to soften under her husband’s direction as they set the terms for their relationship of equals. Sauder is adorably love-stricken and determined as the floppy-haired cutie pie Lucentio; and Vejdani’s Bianca is a small but feisty gal under the good little sister exterior. Hackett is a strong negotiator and drives a hard bargain as the noble, put-upon mother Baptista; and is hilarious as Petruchio’s laid-back servant Curtis. Santalucia is a delight as the sharp-witted, mercurial and flamboyant Tranio; and O’Hara gives a hilarious turn as the spurned and opportunistic Hortensio.
Taming the Shrew like it’s 1989 in Driftwood Theatre’s sharply witty, playfully bawdy, LGBTQ+ Bard’s Bus Tour 2016.
The Taming of the Shrew continues at Toronto’s Withrow Park until this Sunday, July 24 – please note the 7:30 start time. Toronto performances include the following extras:
July 20: Pre-show chat (6:45 p.m.) with Dr. Nikki Cesare Schotzko, University of Toronto
July 21: Intermission show by 80s throwback a cappella band Retrocity; post-show chat with the actors
July 22: Pre-show chat (6:45 p.m.) with Headmistress Shaharazad
Driftwood Theatre Group launched its 21st annual Bard’s Bus Tour with their production of William Shakespeare’s Hamlet earlier this month, text adapted by Toby Malone and directed by Driftwood Artistic Director D. Jeremy Smith – currently running in Toronto at Withrow Park from July 21-26.
As part of Driftwood’s Shakesperience program, early arrivals to last night’s performance were treated to a pre-show chat between AD/director Smith and Dr. Jill Levenson, Professor Emeritus at UofT on Hamlet and the adaptation Driftwood is using for this production. The themes of grief, revenge and truth run throughout this tragedy – grief in particular. Malone’s adaptation for Driftwood mainly draws from two versions of the script: the 1603 (first) quarto and the 1623 folio. Known as the “bad quarto,” the 1603 text lacks the refinement of later versions, but has a brisk pace that lends itself well to the action and staging of the play. By combining these two variations of the text, Malone has created a script that is both fast-paced and eloquent – and by so doing, Hamlet doesn’t come off as an overly intellectual procrastinator, but a highly intelligent and virtuous man struggling with grief and rage over the loss of his father at the hands of his uncle.
The set (designed by director Smith) is inspired by a prison motif – real prison, not Martha Stewart prison – the environment is grey, harsh and grim, with concrete slabs, steel girders, chain link fencing and barbed wire. The sparse furniture a single folding chair and a steel cot frame wound with barbed wire, serving as a bed, platform, etc.
Hamlet is one of my favourite plays – and Driftwood’s production is compelling, moving and darkly comical, with a remarkable cast assembled for this journey of revelation and tragedy, most of them playing multiple roles. Paolo Santalucia is stellar as Hamlet, giving the intellectual, melancholic introspection hits of dark comedy and razor-sharp edge (reminiscent of a young Robert Downey Jr. circa Less Than Zero). Layer upon layer of Hamlet’s mind and soul are uncovered – from depression in his grief to blind rage in his revenge. Jon de Leon does a nice job as the arrogant and entitled Claudius, and does some interesting double duty as the ghost, Claudius’s brother/Hamlet’s father, imperious and otherworldly (with some incredible props work on the grotesque skull-like head, mounted on a helmet, its eyes bulging beneath a mouldy crown). Nehassaiu deGannes is regal, sensuous and kind as Gertrude, on her son’s side and unaware of Claudius’s treachery.
As Polonius, Richard Alan Campbell rides the edge of affable and irritating, with the air of a nerdy lawyer, wise in the ways of court politics, but clueless about the more down-to-earth aspects of human nature. Christopher Darroch does some really nice work as the passionate, noble Laertes, a basically good young man pushed to the edge of his own revenge, and a great turn as the thuggish Rosencrantz. Natasha Mumba brings a lovely combination of fierceness and fragility to Ophelia – no push-over, she is Hamlet’s equal, and her spiral into madness over the loss of her father is heartbreaking to witness. Sarah Finn is excellent as Horatio, Hamlet’s loyal friend and confidant – torn between supporting him in these dark times and finding the truth, and protecting him from himself and the forces that seek to destroy him. Horatio is the objective observer – and will be the chronicler of what comes to pass here, a fair-minded speaker of truth who must come to terms with her own grief in the end. And Steven Burley, in his 21st season with Driftwood, does a stand-up job as Hamlet’s hip, bro-like schoolmate Guildenstern and the cheeky, Fool of a gravedigger.
With shouts to costume designer Melanie McNeill, lighting designer Emily Lalonde and composer/music director Tom Lillington for their most excellent work in creating the prison-like world of Hamlet’s Denmark.
Orange is the new Hamlet in Driftwood Theatre’s steel-sharp, fast-paced tale of grief, revenge and truth – stunningly designed and richly performed.
You have a few more chances to catch Driftwood Theatre’s production of Hamlet in Toronto at Withrow Park (until July 26). The company continues its outdoor performance tour of Hamlet around Ontario – visiting 26 communities in all – until August 16; check here for locations/dates and please note the 7:30 p.m. start time.
As some of its previous annual donors were unable to contribute this year, Driftwood is facing a $25,000 funding shortfall this season. Please consider lending your support by donating what you can to this remarkable local Shakespeare touring company.
Opening with the departure of King Alonso and his retinue on his private jet, and the eventual enchanted crash landing on a charmed island (here, Stephano is the drunken pilot and Trinculo the goofball gal flight attendant), the storm sequence is very cleverly – and playfully – staged, complete with a model airplane, hoist aloft by the actors on its wobbly and harrowing descent.
Played out on a circus-like ring of stones, Prospero weaves his magic, overseeing the meeting and courtship of his daughter Miranda and young Prince Ferdinand, and orchestrating the reunion of the shipwrecked nobles, which also includes his traitorous brother, the power-hungry sister of the King and a loyal old friend. Here, the island spirits that serve him are artfully rendered puppets: Ariel a delicate, gossamer creature with retractable wings; and Caliban a near life-sized thing of earth, stone and gills, emerging from his camouflaged hiding place and operated by two actors. As the play progresses, Caliban undergoes a surprising metamorphosis, getting smaller – to Muppet-sized, then finger puppet – as his power weakens.
Featuring a lovely, otherworldly a cappella soundtrack by composer/musical director Tom Lillington and an excellent cast, The Tempest takes the audience on a two-hour journey of wonder, fun and philosophy. Richard Alan Campbell does a lovely job of balancing Prospero’s righteous indignation and rage with a deep melancholy and longing to right his life – for both himself and his daughter – and live out the remainder of his days at home. Miriam Fernandes is sweetly innocent and wide-eyed, and full of youthful wisdom as Miranda; and Kaleb Alexander is adorably awkward and gallant as the love-smitten Ferdinand. Cast stand-outs also include double-duty performances by Madeleine Donohue, playing a cheeky, goofy Trinculo, and the lovely and enchanting Ariel; and Peter van Gestel, as the outrageously drunken and cocky Stephano, and the sullen and vengeful Caliban. Donohue also provides some beautiful vocals as Ariel and sings an ethereal duet with Christina Gordon (a female Gonzalo, as well as one of the island spirits), with Gordon’s gorgeous voice perfectly combining, and creating an atmosphere of charm and wonder.
With big shouts to the design team: Lokki Ma (props), Melanie McNeill (costumes) and director Smith (set) for their brilliant work in this magical production.
Driftwood Theatre’s touring production of The Tempest is an ethereal, magical and highly entertaining production, featuring some delightful surprises and an equally delightful ensemble.
You have two more chances to catch The Tempest at Withrow Park: tonight (July 26) and tomorrow (July 27) – please note the 7:30 p.m. start time. The tour makes stops at various locations across Ontario until August 17 – check here for dates and locations. Some performances feature pre-show performance Food of Love, an a cappella concert (6:30 p.m. start) of the music of Driftwood Theatre, which is celebrating its 20th season this year, as well as pre-show and late night chats.
Driftwood A.D. Jeremy Smith put together an incredible cast for this hilarious and engaging evening of theatrical literature/movie mash-up. Joseph Ziegler* did a marvelous job with Obi Wan Kenobi, all wry wit and wisdom. Oliver Dennis was a delight as the prissy and formal C3P0, and Melissa D’Agostino* was adorably Puck-like as R2D2. Dion Johnstone, suitably attired in a black leather vest, brought the perfect balance of cocky and charm to Han Solo. Michael Hanrahan’s smooth bass voice and gravitas were bang-on for Darth Vader. Sarah Wilson was lovely and sassy as Princess Leia. Richard Alan Campbell brought a nice Shakespearean officiousness to The Chorus. Peter van Gestel used all the colours in the box for Luke Skywalker, from the restless boy longing for adventure to resourceful, brave (and love-smitten) young warrior. Awesome voice work/mimicking from Karl Ang as Jabba the Hutt, Lori Nancy Kalamanski as Chewbacca and Helen King as Greedo (all playing multiple roles throughout); and Andy Pogson did a nice job with multiple roles, including Wedge Antilles and some hapless stormtrooper dudes. Steven Gallagher brought it sly and snake-like – was he channeling Olivier? – as Governor Tarkin. And Steven Burley was awesomesauce outstanding in his role as music and sound effects master – all done with his voice, including the Twentieth Century Fox theme music before launching into the John Williams soundtrack at the beginning of the reading!
Driftwood rounded up some excellent prizes for the evening’s auction and raffles, including a live auction for walk-on roles during the reading and a prize for the best costume.
We did have a blast. We did feel good. And I’m hoping Mr. Doescher continues writing these Shakespeare/Star Wars mash-ups so Driftwood can do this again. I’d love to hear Burley do “Yoda’s Theme.”
*Casting change: RH Thompson was originally set to play Obi Wan Kenobi and Michael Therriault was to read R2D2.
Driftwood has assembled an impressive cast for this unique theatre experience, including: RH Thomson (Obi Wan Kenobi), Oliver Dennis (C3P0), Michael Therriault (R2D2), Dion Johnstone (Han Solo), Michael Hanrahan (Darth Vader), Sarah Wilson (Princess Leia), Richard Alan Campbell (The Chorus), Peter van Gestel (Luke Skywalker), Karl Ang (Jabba the Hutt), Steven Gallagher (Governor Tarkin), Lori Nancy Kalamanski (Chewbacca), Helen King (Greedo), Andy Pogson (Wedge Antilles) and Steven Burley (music and sound effects).
But wait – there’s more! There will be a live auction and a silent auction – plus the opportunity for cosplay to win a prize! Here are the details from Driftwood’s press release: Audience members will be able to get in on the action through a Live Auction offering three walk-on roles as rebels, imperials or interesting creatures. The event will also feature a Mini Silent Auction (featuring 10 boutique packages handpicked by Driftwood Theatre’s board of directors), a Getaway Raffle (win a trip for two to Montreal for some great food, entertainment and luxurious hotel stay) and Best Costume Prize (come as your favourite Star Wars character and you could win BIG).
The action starts at 6:30-8:00 p.m. with the silent auction, with the performance at 8 p.m. Tickets $25 (limited seating). Online at www.driftwoodtheatre.com/event/playinapub/ , by phone at 416-703-2773, or in person at the T.O.Tix Booth (Yonge/Dundas Square). A service charge will apply to all orders.
Seating is limited for this one, kids, so best get yourself online, on the phone or over to T.O. Tix to book yourself a seat on this stellar trip. Hope to see you at Whistler’s Grille (995 Broadview Ave., Toronto)!
You will have a blast. You will feel good. And these are not the droids you are looking for.