Created and performed by Lisa Gilroy, Mark Little, Natalie Metcalfe, Christian Smith and Kevin Vidal, The Adventures of Tom Shadow takes us on a multi-genre, super fun musical comedy ride—just the thing to relax you after a long, hard day.
Story time turns into a real-life adventure when fiercely determined cop Bev (Metcalfe) and sensitive, nerdish lit professor John’s (Little) kids Martin (Smith) and Angeline (Gilroy) disappear after they’ve been tucked in. What the distraught parents don’t know is the two kids have gone off on a hero’s journey with Tom Shadow (Vidal, think Peter Pan meets Willy Wonka) to his magical kingdom in the clouds.
Things go downhill for Bev and John, as the stress and public’s suspicion over their missing kids takes a toll. John joins a gang of skater kids called the Runaway Boys, led by John’s teen pal (Vidal). And Bev tries to get into the mind of a psychopath in hopes of finding a clue to where her kids are, turning to convicted cannibal/murderer Diane (Gilroy, as a female Hannibal Lector). Meanwhile, the police chief (Smith, of the wicked Jack Nicolson-esqe facial expressions) is tired of being labelled a loser, and assembles an angry mob of jealous neighbours and townspeople to arrest Bev and John!
Combining physical comedy with music and genre-bending themes, the cast kicks it at high speed, rolling out moment after moment of big-time LOLs.
Fairy tale meets crime procedural meets romantic dramedy as music and hilarity ensue in the magical, imaginative The Adventures of Tom Shadow.
The Adventures of Tom Shadow runs in the Factory Theatre Studio till October 22. Get your advance tickets online or by phone at 416.504.9971, or in-person at 125 Bathurst Street (at Adelaide).
Sugith Varughese & Farah Merani in Little Pretty and The Exceptional—photo by Joseph Michael
A South Asian Canadian family navigates a career transition, personal milestones and mental illness in Anusree Roy’s Little Pretty and The Exceptional, directed by Brendan Healy, assisted by Ryan G. Hinds—running in the Factory Theatre Mainspace.
Little Pretty and The Exceptional takes us to Toronto’s Little India, to a store on Gerrard St. East where Singh family patriarch Dilpreet (Sugith Varughese) is preparing for the Canada Day grand opening of his family-run sari shop with the help of his daughters Simran (Farah Merani) and Jasmeet (Shruti Kothari). To his chagrin, Jasmeet has also enlisted the help of her boyfriend Iyar (Shelly Antony).
The entire Singh household is running on the stress and excitement of major life events: Dilpreet is navigating a career transition, going from shop employee to shop owner; Simran, who wants to be a human rights lawyer, also works at the library and is awaiting her LSAT results; and Jasmeet is preparing for prom and gunning for the coveted Prom Queen crown.
When Simran’s LSAT score is lower than she needs to get into Osgoode, she begins a downward spiral into extreme tension and anxiety. As she struggles to sign up for LSAT prep classes and reschedule the test, her ongoing nightmares and headaches are getting worse, and she’s beginning to hallucinate. And when she goes missing one night, returning with a story of seeing her dead mother, her father wants to take her to the doctor, but her sister thinks she just needs time and space to relax.
Haunted by their shared history of a wife and mother who struggled with mental illness, and with the grand opening just days away, the Singhs are torn about what to do for Simran—but as her visual and auditory hallucinations worsen, even Jasmeet realizes they must seek medical intervention. In the end, as much as the Singhs strive for normalcy as they open the shop, things will never be the same again.
Lovely work from the cast in this poignant, sometimes funny, family story. Varughese gives a moving and powerful performance as Dilpreet; a loveable, outspoken and somewhat stubborn man with a wry wit, Dilpreet is a middle-aged father bravely shifting from employee to entrepreneur. An immigrant who came to Canada to make a better life for his family, the cultural and generational divides with his daughters make for some fun comedic moments of communication and butting heads. Merani is heartbreaking as Simran; the ‘smart one’ of the Singh sisters, Simran’s decent into Schizophrenia is devastating to watch—from her perspective as a strong academic student aiming for law school, and the varied responses from her family.
Kothari is a firework as Jasmeet, the ‘pretty one;’ a young woman of boundless energy and a touch of vanity, Jasmeet’s a high school senior who wants to be a fashion designer. Outspoken like her father, she’s a take-charge gal—but when it comes to her big sis, she goes into denial over the increasingly erratic behaviour. Haunted by vague memories of their “crazy” mother, Jasmeet doesn’t want to consider that Simran may need psychiatric help. Antony is a delight as Iyar; high-energy, laid back and supportive, Iyar has no trouble gently calling Jasmeet on her attitude towards Simran’s situation. And though he’s not technically a member of the Singh family, he does great service assisting with the store opening and overall emotional support.
With shouts to the design team for their work in creating the lush, evocative space—filled with rich, gorgeous fabrics, and music and lighting that goes from bright and lively to malevolent: Samantha Brown (set, props), Chantelle Laliberte (costumes), André du Toit (lighting) and Richard Feren (composer and sound).
Family, transition and mental illness in the honest, engaging, moving Little Pretty and The Exceptional.
Little Pretty and The Exceptional continues in the Factory Theatre Mainspace till April 30. Advance tix available online or by calling 416-504-9971.
Rose Napoli & Alison Dean in Trigonometry—photo by Greg Wong
Gabriella wants action. Jackson wants a scholarship. Susan wants a family.
timeshare opened the third and final installment of Rob Kempson’s The Graduation Plays trilogy with the world premiere of Trigonometry this past week, directed by Kempson and running in the Factory Theatre Studio. I caught Trigonometry yesterday afternoon.
Math teacher Gabriella (Rose Napoli), substitute teacher/guidance counsellor Susan (Alison Dean) and student Jackson (Daniel Ellis) find their lives intertwined as their desires collide in a high-stakes, power struggle dynamic. Scandalous photos, sports team hazing allegations and personal revelations come into play in a series of intense, at times hilarious, two-hander moments—culminating in a gripping final scene when the three stories triangulate.
Outstanding work from the cast on this trio of disparate characters locked in a battle of wills. Great chemistry between Napoli and Dean in a diametrically opposed, sharply funny dynamic of opposites. Napoli’s Gabriella is sassy, ballsy and a passionate teacher; a divorced single mom with conservative, black and white views of the world, particularly the new sex ed curriculum. Direct and possessing a sardonic sense of humour, Rose is recently single and ready to mingle—and active on Tinder. Dean brings a sweet, kind quality to the progressive Susan; no doormat, Susan is open to hearing all sides of an argument and willing to navigate the grey areas—in many ways, the perfect guidance counsellor. Tasked with investigating persons of interest around a volleyball team hazing, Susan is a reluctant investigator, but willing to do her duty; she’s also chosen to start her own family, on her own with a sperm donor pregnancy. Ellis’s Jackson is a likeable kid with just the right amount of smart-ass; a gifted athlete struggling with math and driven to make his parents proud, Jackson has considerable strategizing skills—and perhaps too wily for his own good. Was he involved in that hazing?
Parental point of view plays prominently in each story, driving decisions and opinions. All three characters are basically good people—and the situations in which they find themselves test how far they’re willing to go to get what they want. In the end, much is left up to us to sort out.
With shouts to set/costume designer Anna Treusch and scenic painter Simge Suzer for the trippy math class chalkboard set.
Desperate desires, power struggles and parental POV in the compelling, sharply funny Trigonometry.
As you sit in the Studio’s adjacent lounge, you can hear birds and a strange, otherworldly music. Like the chiming of celestial orbs. Entering the theatre, the ceiling is covered with tree branches, reaching downwards—and the floor is the colour of blood spreading over snow. Two benches on stage and the audience is mirrored on either side of the playing space. Combined with the sounds, the setting is eerie and strangely calming at the same time.
Inspired by the little known story of Les Filles du Roi (King’s Daughters), and directed by Tanya Rintoul, Deceitful Above All Things takes us on the journey of two young French women as they cross an ocean to transplant their lives to New France (eventually Quebec) in 1667.
Meeting on the voyage, coquettish aristocrat Anne (Genevieve Adam) and the pious Marguerite (Imogen Grace) become close friends when Marguerite comes to Anne’s aid on board. Once arrived, Marguerite joins her at a settlement near Trois Rivières to serve in Anne’s new home, which she shares with her husband, tobacco farmer Amable (Brian Bisson). There Marguerite finds romance when a handsome half First Nations, half French coureur de bois, Toussaint (Garret C. Smith) saves her from a bear.
This attachment is much to the dismay of Mme. Etienne (Madeleine Donohue), settlement den mother and matchmaker; she organizes and watches over the newly arrived women and arranges domestic partnerships—all for the glory of France and to populate the colony. Also relatively new to the settlement is Father François (John Fitzgerald Jay), a Jesuit priest who lives at the nearby Mission. And befriending Marguerite is Catherine (Joelle Peters), a young First Nations woman who was orphaned as a child and raised by the “black robes” at the Mission.
The storytelling weaves past and present, where we learn how the playful, intimate relationship between Anne and Father François turned passionate in France; the two reunited when he pays a visit to Amable’s home. Both Anne and Marguerite are pregnant, and Toussaint has travelled north, following the desire of his soul even more so than the work. Marguerite has adapted well to this wild new world, with the help of Toussaint and Catherine. Less of a pioneer at heart, Anne toys with two lovers like a careless child who goes where her desire takes her—and may find her true passion too late. Ever present is the threat of attack from an Iroquois war party, as men band together to take back the land that was taken from them by force by other men. This is a harsh, at times unforgiving, and also fertile and beautiful new world—and its inhabitants must adapt in order to survive.
Compelling performances from the cast with these conflicted, passionate characters. As Anne, Adam is fiery, seductive and irreverent; Anne’s aristocratic cockiness is subdued somewhat in the wilds of a burgeoning Quebec colony, but her passion still burns hot. Polar opposite, yet complementary to Anne, is Grace’s quiet, introspective Marguerite; deeply loyal and kind, there’s a fierce heart underneath—that is her source of strength and resourcefulness.
Jay brings a great sense of conflict to the learned, forward-thinking Father François; a devout and spiritual man, his passions get away from him with Anne—making for a tortured soul that longs for absolution and redemption. Smith’s lovely layered performance as Toussaint gives us a man both spiritually and culturally conflicted; called “half-breed,” he doesn’t really belong anywhere and goes where his bear spirit calls him. But now, with Marguerite and the baby, he may have finally found a home.
Peters brings a nice sense of calm watchfulness to the enigmatic Catherine, at times unsettlingly so; a woman of few words, like Toussaint, spiteful rumours about her family follow her—and she must act as her spirit dictates. Donohue gives a sharply honed performance as the tight, proper Mme. Etienne; and Bisson gives Amable a strong and simple, but affable, dignity.
Deceitful Above All Things tells us a story of the early days of what would eventually become the province of Quebec, Canada—with some seldom seen perspectives of women and First Nations people. It’s a timely story, with Canada’s 150th birthday being celebrated this year.
The production also features beautiful work from the design team to create this hauntingly beautiful, dangerously harsh world: Nancy Anne Perrin (set), Logan Cracknell (lighting), Adriana Bogaard (costume) and Deanna Choi (sound).
Blood and fire as women navigate a beautiful, untamed new world in the bold, darkly funny Deceitful Above All Things.
Clique Claque takes us to 1880s Paris, where we meet Madame Clothilde, aka the Chef de Claque (Michelle Langille), and her husband Yannick (Robert Clarke), who run a group of professional clappers paid to manipulate audience response to theatrical performances. They can turn a bad play into a smash hit and mediocre actors into stars. Their ingénue employee Clemantine (Thalia Kane) may seem to be the picture of naiveté and innocence, but she’s a veteran of the game; though all is not well for her.
Enter young Victor (Victor Pokinko), a one-time music prodigy and current out of work musician, newly arrived from Canada, and looking for inspiration and a job. The Claque takes him on and he proceeds with his education, and in more ways than one. As he becomes instrumental in the Claque’s plan to overthrow an opposing gang of audience influencers—a group called the Clique, led by mature student Dubosc (Ron Kennell), who brutally heckle bad performances—Victor finds he may be in for more than he bargained for. Ultimately, he must choose between what is true and right, and the bitch goddess Fame.
Incorporating some cheeky but gentle audience participation, Clique Claque is an entertaining and engaging show, featuring a stand-out cast. Langille is mesmerizing as Clothilde, the seductive mistress of manipulation. Good cop to husband Yannick’s decidedly bad cop, she may be the wife in the marriage, but one gets the distinct impression that it’s she who wears the pants. Clarke is the villain you love to hate as devilishly devious, cynical and thuggish as Yannick; he represents the dark, seedy underbelly of the Claque’s endeavours, while Clothilde brings the illusion of respectable professionalism.
As Clemantine, Kane brings some lovely layering and conflict; a young woman of some experience, she knows the harshness of the world too well and feels trapped in the Claque. There’s a lost, wistful sense of longing for something better. Pokinko’s Victor is a great combination of wide-eyed innocent and game lad; disillusioned with the world of art himself, he starts out just wanting to eat, but finds himself seduced by the prospect of money and fame. Kennell’s Dubosc is a sophisticated picture of art and academe. A man with a quick, wry wit and unexpected talents, Dubosc is a fierce crusader with a deep appreciation of the good life and that which is beautiful, especially beautiful young men.
With shouts to Nina Okens for the stunning period costumes.
Opposing forces battle for supremacy in the underworld of audience influence in the diabolically charming Clique Claque.
Songbuster Inc. brings the funny with a musical twist in with Songbuster – An Improvised Musical; a new show created every performance by the ensemble with musical director Tom King. Currently running during the Toronto Fringe Next Stage Festival (NSTF) in the Factory Theatre Studio, the ensemble features Tricia Black, Kristian Bruun, Ashley Comeau, Alexandra Hurley, Stephanie Malek, Josh Murray, Nug Nahrgang, Nicky Nasrallah and Connor Thompson.
It all starts off with an ask. In this case, the ensemble asking an audience member for a setting to work with; something in the nostalgic gathering department. The woman in the front row suggested a family reunion. And off they went.
From there, a series of musical scenes unfolded, incorporating various music styles from classic musical, to country western, to blues, to ballads. A cantankerous, forgetful grandfather has a heart-to-heart with his hair-eating, taxidermy practicing teenage granddaughter Claire, who was named after her grandmother (one of the only things he can remember), who was known to walk the tightrope on occasion. The strained relationship between Aunt Eleanor and her husband Philip, who both really like to drink beer (like, a lot), unfolds as we learn that Eleanor is secretly in love (mutually so) with their next door neighbour Martha. An unexpected guest arrives, a previously unknown cousin from Norway, who cross country skied the whole way there—and who has secrets of his own.
And then there’s Claire’s mother Donna, trying to keep things together at home since her husband John left for another woman. And her kid brother Robert, who misses his dad’s scary bedtime story character voices and takes out his confused frustration by punching trees. Unbeknownst to this family, John is making his way home to the family ranch, hoping for reunion and redemption.
Meanwhile, Grandpa unearths the strange cousin’s secret and rallies the family to protect a hidden cache of WWII treasure (and weapons, apparently) buried on the property—forcing everyone to put their differences aside for the good of the family.
Amazing work from the ensemble in this hilarious trip through family relationships and crises—and all with music and improvised lyrics, folks. And these guys can sing. This performance of Songbuster included some surprisingly poignant moments, especially during John’s entrance. Sorry for his trespasses and realizing the huge mistake he made in leaving, he’s been longing to return home to be reunited with Donna and the kids. Here, solo turns into quartet as Donna and the kids join him in the background.
Hidden WWII treasure, a closeted aunt, a shifty foreign cousin and other family secrets in the funny, surprisingly poignant, Songbuster – An Improvised Musical.
Think you’re good at spotting a tall tale that’s way too unbelievable to be true? Test your skills and enjoy some good times as Archer, Brum and Isador share personal anecdotes. Two of them are telling the truth and one is lying to your face.
Over the course of 30 minutes, each storyteller serves up a hilarious, supposedly true, story of determination, patience and heartache. Each performer has a distinct presence and delivery style. Archer is a high-energy delight and an unapologetically ambitious firecracker in her story. Brum is endearingly self-deprecating and hilariously frank as he takes us on his journey. And Isador has a wry, introspective, edgy energy as he delivers his personal tale of experience and growth. And one lucky audience member has a chance to win a prize if he/she can determine who’s lying.
Storyteller Jillian Welsh will be joining the gang at the end of the run, on Jan 13-15.
Story time for grown-ups with three solo tales—and one is a big fat lie—in the funny, frank Two Truths and a Lie.