Suffrage, prohibition, love & puppets in Driftwood’s charming, timely, re-imagined Rosalynde (or, As You Like It)

Ximena Huizi & Sochi Fried. Production design by Sheree Tams. Photo by Dahlia Katz.

 

Driftwood Theatre Group puts a beloved Shakespearean heroine’s name back on the marquee with its charming, timely 2018 Bard’s Bus Tour production of the re-imagined Rosalynde (or, As You Like It), directed by AD D. Jeremy Smith. It’s 1918; and women’s suffrage, prohibition and WWI are at the forefront—and so is true love. I caught Rosalynde in Toronto at Ontario Place Trillium Park last night.

The Duke’s Distillery has been taken over by Frederick (Eric Woolfe), a hard-nosed gangster who has ousted his brother Senior to take over the business and run illegal booze across Lake Ontario to the U.S. Senior has fled to the Forest of Arden, finding rustic sanctuary with a small group of loyal followers. The banished Senior’s daughter Rosalynde (Sochi Fried) has been allowed to stay, as she’s the beloved friend of Frederick’s daughter Celia (Ximena Huizi)—but when he finds public opinion favouring his niece, he banishes her as well. Armed with a plan to flee to the forest disguised as brother and sister, the two young women sneak away with the company Fool Touchstone (Geoffrey Armour) in tow.

The neglected young Orlando (Ngabo Nabea) is facing similar struggles at home with his cruel older brother Oliver (Derek Kwan). When he goes to test his mettle at a local wrestling match, he and Rosalynde become mutually smitten; and he defeats Frederick’s man Charles (puppet, Megan Miles). When his faithful old servant Adam (Armour) learns that Oliver and Frederick are plotting against Orlando’s life, he urges his young master to flee—and the two leave their home for the safety of the forest.

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Ngabo Nabea, with Ximena Huizi & Sochi Fried in the background. Production design by Sheree Tams. Photo by Dahlia Katz.

The Forest of Arden is where the magic happens. Disguised as the youth Ganymede, Rosalynde advises the love-struck Orlando, as well as the love-sick shepherd Silvius (puppet, Kwan), whose rebuffed attentions to Phebe (puppet, Miles) are thwarted further by Phebe’s new-found attraction to Ganymede. And one of Senior’s (Woolfe) friends, the world-weary, profoundly disheartened suffragette Jaques (Caroline Gillis), searches for meaning and a reason to carry on as she observes life in the forest, the unfolding love stories and a Fool out for a wife. Love, reunion, and new perspectives on life and the world unfold—and the forest inhabitants demonstrate compassion, equity and brave determination. And yet, we’re reminded that not all will partake in the new rights and opportunities that emerge during this time: men and women of colour do not yet have the right to vote; and men of colour are denied the opportunity to serve in the war.

Stellar work from the ensemble in a production that entertains as much as it illuminates. Weaving in snatches of news on the suffrage movement, prohibition and the First World War, we get the sense of a time and place immersed in great upheaval and social change. The rural natives of the forest are all puppets, as are some of Frederick’s henchmen (Eric Woolfe is also the AD of Eldritch Theatre, specializing in horror and fantasy storytelling using puppetry, mask and magic)—masterfully brought to life by various members of the cast, especially Megan Miles.

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Megan Miles as Charles the wrestler. Production design by Sheree Tams. Photo by Dahlia Katz.

Fried is luminous as the mercurial, fiercely independent, giddy in love Rosalynde; coupled with Nabea’s brave, bold and adorably bashful Orlando, we see two abused young people forced to flee their homes and take charge of their lives—and coming to see the world, themselves and love with new eyes. The wisdom of women figures prominently in this production, from Huizi’s sharply witty, sassy, ever loyal Celia to Gillis’s poignant, well-travelled, experienced aviatrix Jaques. Jaques comes by her melancholy honestly, having seen—and feeling too much—of the world’s unfairness and cruelty. Here, the women school each other and the men in their lives: Jaques shares her experience with observant Celia; and the practical Rosalynde teaches the idealistic Orlando about the everyday nature of romantic relationships. Armour gives a hilarious, high-energy performance—bringing laughs and social commentary—as the quixotic scamp Touchstone.

Rosalynde (or, As You Like It) has one more performance at Ontario Place Trillium Park tonight (Aug 2) at 7:30 p.m.; thanks to the generous support of Ontario Place, admission is free—and Driftwood is happily accepting donations. Bring a chair, a blanket and bug spray (chair rental is available for $5—get there early). There’s a concession stand with drinks (including alcohol) and snacks; you can also score some sweet Driftwood merch over by the chair rental tent.

The Bard’s Bus Tour continues on its way, wrapping up its run on August 12. Check the Driftwood website for performance dates and locations; admission is free or PWYC, as indicated in the venue listing. Worried about weather? Check out the rain policy here.

For more on Rosalynde, check out director D. Jeremy Smith and actor Sochi Fried in an interview with Gill Deacon on CBC’s Here and Now.

 

 

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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.

Magic, puppets, shenanigans & horror in spellbinding, diabolically funny The Harrowing of Brimstone McReedy

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Eric Woolfe & something wicked in The Harrowing of Brimstone McReedy – photo by Adrianna Prosser

There are stranger things done in the midnight sun other than cremating Sam McGee. And there are more ways to moil for gold – some with even darker consequences.

Eldritch Theatre takes us on a strange, dark and magical adventure with their production of The Harrowing of Brimstone McReedy. Created and performed by Eldritch Theatre co-founder Eric Woolfe, and directed by Dylan Trowbridge, the show opened at Red Sandcastle Theatre on Thursday night; I caught the spooky fun last night.

It is 1898 and our charming host for the evening is the affable scoundrel Brimstone McReedy, who sold his soul to the Devil in exchange for that which he most desires. Armed with dark mystical objects proffered by Old Scratch himself – bell, book and candle – McReedy joins an infamous gang of grifters. Learning of the gold rush, the gang is bound for Dawson, where they plan to mine gold from the wallets and pockets of prospectors and other fortune-seekers there.

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Brimstone & Epiphany – photo by Adrianna Prosser

Things take a turn when McReedy falls for the boss’s girl, the lovely dark-haired Epiphany Blackburn, and he cheats his way into her heart. Armed with nothing but their wits and determination, they leave the gang and finish the harsh trek to Dawson, where Epiphany goes to work as a dancing girl at Belinda Mulrooney’s Fairview Hotel and McReedy gets to swindling. And it’s all jake for a while. Until jealousy rears its ugly green head and loyalties come into question, culminating in some nail-biting, life-changing matches of wits and card playing as the tale reaches its harrowing finale.

After all, magic always comes with a price and the house always wins – especially when the Devil is dealing.

Weaving the tale with magic, puppetry and a gruesome version of the shell game, Woolfe is a deft and entertaining storyteller. As McReedy, he’s a lovable scoundrel, giving us a lesson in the art of the swindle and incorporating some friendly audience participation before and during the show.

With big shouts to the design team for their work in creating this spooky, evocative period environment: Eric Woolfe (puppets), Melanie McNeill (production design), Kaitlin Hickey (lighting), Jude Haines (sound), Joanne Boland (vocals and piano music) and dark arts guide Magic Mike Segal. And to intrepid producer/box office girl Friday Adrianna Prosser and SM Sandi Becker for keeping it all together.

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Eric Woolfe as Brimstone, with puppet Brimstone – photo by Lyon Smith

Magic, puppets, shenanigans and horror in the spellbinding, diabolically funny The Harrowing of Brimstone McReedy.

The Harrowing of Brimstone McReedy continues at Red Sandcastle Theatre until Nov 13; get your advance tickets online and have yourself a spooky Halloween good time.

You can keep up with Eldritch Theatre on Twitter and Facebook.

In the meantime, check out the trailer: