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).
Iris (Tiana Leonty) and Hank (David MacInnis) live in a nice, clean split-level home on a nice, quiet cul-de-sac in a nice, safe, crime-free neighbourhoood. Their picture-perfect 1950s suburban life is turned upside down when their young son goes missing. Only, when they try to recall the day he disappeared, they can’t seem to get the story right.
As they conduct a door-to-door search on their street—the titular Mockingbird Close—we encounter their neighbours (all played by Leonty and MacInnis); and it’s dark comic portraits all around as we meet them. The vain, judgmental, hyper-religious, cooking baking Louis Vent. Sidney Blackwell, the strangely charming older man with his prized train set in the basement and a bed-ridden wife upstairs. The attention-starved, “Mrs. Robinson” Mona Hobbs. The odd, soft-spoken Jarvis Jermaine. No one has any information on the missing boy—and all are concealing something. And then there’s the malevolent, mysterious older lady; the one the neighbourhood kids call “the witch.” There’s a dangerous, unsettling undercurrent on this street; and each of its inhabitants has a dark, hidden edge.
Incorporating storytelling with satirical fetishization of normalcy and wholesomeness, Mockingbird Close is part fairy tale, part psychological thriller—one might even say David Lynchian. What really happened? And did it even happen?
Leonty and MacInnis are a two-person master class in their performances, playing on the edge of send-up and nuance as they flesh out these secretive, discomfiting characters. Leonty’s Iris is a neat, prim and somewhat high-strung wife and mother; the perfectly coiffed wife in an emerald green cocktail dress who greets her returning husband at the door with slippers, the paper and a martini. And Leonty runs the gamut, from narcissistic and controlling Louis to desperately lonely seductress Mona. MacInnis is the picture of the flawlessly pressed professional and husband; precise and socially astute, he too is tightly wound—more of the ticking time bomb variety. He is eerily engaging as Sidney and creepily attentive as Jarvis. MacInnis and Leonty seamlessly tag team a single character as they take turns portraying the mysterious and manipulative dark lady behind the final door at the end of Iris and Hank’s search.
The secret thoughts of grownups and the stories they tell in the gripping, tension-filled, darkly funny Mockingbird Close.
Mockingbird Close continues at Red Sandcastle until September 16; get your advance tickets online or at the door an hour before show time. Advance booking recommended; it’s an intimate space and last night’s opening was a packed house.
Keep up with INpulse Theatre Co. on Facebook. You can also find them on Instagram: @inpulsetheatre and Twitter: @inpulse_theatre
“Ukrainian people are convinced that everything will turn out shit because it always has. And they are always right.” – Licking Knives
Licking Knives– written and performed by Melanie Hrymak. Amidst the metropolitan hustle and bustle of post-war Paris (the tone set with projected images of Paris and the sounds of the city), a well-dressed, elegant woman silently enters, finds a table on a café patio, and removes her hat, gloves and coat. And tells us her story. Gradually, her accent changes as she takes us into the past. Once upon a time, she was a Ukrainian farm girl, one of six children who worked hard to help the family plant its annual wheat crop – wheat that was now being commandeered by the army. A small misfit in the family, she dreamed of going elsewhere, but never could have expected what would happen next. Torn from her home to work in a Nazi labour camp, she goes from housemaid to tunnel worker, the tunnel ultimately saving her when the Allies take the camp. Her old life gone, she travels to Paris with her newfound freedom, where her life becomes fluid and changeable. Ukrainian, Polish, German, French. Becoming someone else. Changing herself to forget.
Hrymak’s performance is frank, dark and wryly funny. In this woman’s shoes, she pulls no punches about the details of the experience and what she must do to survive; the tone is hard and vulnerable at the same time, refined and coarse, carefree and pensive. In the end, this woman has most effectively erased the girl she once was – but it’s clear that that Ukrainian farm girl still lives underneath.
“I, my own widow, my late lamented husband, had to be man enough to wear the fucking trousers.” – Man to Man
Man to Man– written by Manfred Karge, translated by Anthony Vivis, and directed by Kelli Fox, assisted by Leslie McBay, and performed by Lisa Karen Cox. Set in Germany during the Nazi’s rise to power, when her husband’s poor health and subsequent death threaten her very survival, Ella Gericke becomes her dead husband Max and takes over his job as a crane operator. But her new identity eventually becomes problematic as the Nazis want soldiers to grow their army – and Ella/Max must come up with a new plan to stay alive. The language is both romantic and profane as the storytelling shifts back and forth between fanciful fairytale and harsh reality.
Cox gives a strong, grounded performance; and she does a remarkable job of shifting between characters, playing multiple roles – male and female, and female to male – coquettish, demure, bawdy, aggressive. As Ella morphing into Max, Cox is ballsy and go-to. She relishes her successful transformation in learning and executing Max’s job, then dreads interactions with co-workers, who want to drink, gamble and womanize after hours – afraid of being found out, but enjoying this new experience of the world. Switching back and forth between masculine and feminine versions of herself, Ella intends on becoming a woman again, but the timing never seems right and she always finds herself returning to her Max persona. In becoming her own prince come to save her, she will never be the same person again.
Along with the shape-shifting survival qualities of the women in these two plays, like Edith Piaf in her famous rendition of “Non, Je Ne Regrette Rien,” these women regret nothing.
With shouts to the design team: Karyn McCallum (set and projection for both plays, and also costume for Man to Man), Rebecca Picherack (lighting), Tessa Springate (sound for Licking Knives), and Matthew Lawrence and Tom Perry (sound for Man to Man).
Two women’s memoirs of wartime resilience and survival in powerful, poetic Headstrong Collective Double Bill of Licking Knives and Man to Man.
Headstong Collective’s Double Bill of Licking Knives and Man to Man continues at the TPM Backspace until Dec 20. Check here for dates/times and advance tickets; you can also reserve by phone at 416-504-7529 or get tickets in person at Theatre Passe Muraille (16 Ryerson Ave).
Sheets and coloured fabric, plus some artfully custom cut tape and green felt, become castle walls and turrets, and an enchanted forest. All part of the magic and imagination at Red Sandcastle Theatre – in this case, for the Panto Players’ production of Sleepy Beauty – The Tale of the Narcoleptic Princess and Her Cat.
Written by Jane A. Shields and Red Sandcastle A.D./impressaria Rosemary Doyle, and directed by Jackie English, this modern-day retelling of the beloved fairy tale features a sparkling, multi-talented ensemble cast and a head boppin’, toe tappin’ series of pop tunes tailored for the show.
Three fairies (Matthew Donovan, Victor Pokinko and Brenda Somers) attending a christening for Princess Suzie come up with a plan to thwart the evil machinations of bad fairy Malefolent (Taran Beaty), softening the curse set upon the infant, tasking a remarkable pink cat (English) with looking after her, then finding a prince (Andy Ingram) to break the sleeping spell that bewitches a teenage Suzie (Rebecca Perry).
The fairies are a treat: Donovan is all heart and southern gentility, with a touch of befuddlement and insecurity, as Twankey Fairy; Pokinko is fabulously dapper and entertaining as woodland Fairy of the Trees Algonquin (but you can call him Al); and Somers is a ball of blue fun as the sharp-witted, colourful-haired Fairy of the Lake. Perry is adorably precocious as Princess Suzie (also doing double duty as the hilariously doting Queen) and has an impressive set of pipes; and Ingram is wonderfully goofy as the handsome, but dim-witted, Prince Joe (and gives a comic turn as the King). Beaty is chock full of evil comedic deliciousness as the jealous and vengeful horned fairy Malefolent. And English is a delight as everyone’s favourite wry-witted pink cat with a French accent.
All the shenanigans kept running by Doyle (wearing many hats, including box office, lighting FX and palace guard) and SM Deborah Ann Frankel, Sleeping Beauty features colourful, striking costuming (designed by Doyle, who also did the set) and catchy, fun tunes borrowed from pop – lyrics rewritten for the show – like “Wake Up, Little Suzie,” “Can’t Touch This,” and “Celebration,” and from artists like Katy Perry and ZZ Top. And the entire cast transforms into a band, rockin’ out on “Call Me Al” – with Beaty on guitar, Donovan on trombone and Pokinko on keys.
Sleepy Beauty is a big shiny panto good time for kids of all ages.
Sleepy Beauty continues its run at Red Sandcastle Theatre until Jan 4, including 2 p.m. matinees (Dec 28 and 31, Jan 3 and 4) and 7 p.m. shows (Dec 29 and 30, Jan 2 and 3).
Yesterday was a day of art and friends – “Artaday,” as my partner in creative crime Lizzie Violet coined it – as we attended two art exhibit openings and a very unique haunted house experience. Here are some highlights, as well as the details, of these events.
Jacques Albert uses a mostly subdued palette of earth tones, creating organic, flowing pieces featuring nature and figures that are both moving and haunting.
Brenda Clews combines text and figures using a vibrant primary palette for a series of electric works.
Jennifer Hosein’s beautiful paintings are sometimes disturbing, sometimes ethereal, and water colour-like in a striking use of blues and greens.
Anna Karoliina Koskinen’s works include some lovely snapshot moments of human and animal subjects, the images of people capturing a second’s worth of joy and pensiveness.
Greg Nordoff’s paintings have a sharp photographic quality to them, with images of mysterious, sexy women, as well as finely detailed architecture and portrait work.
5 By 5 closes on October 26, so get on over to the Gladstone Art Bar Gallery.
Kill Joy’s Kastle at 303 Lansdowne Ave.is a scary fun haunted house trip into women’s studies, feminist thought and gender fluidity. Our tour guide Keith Ann McWoman, a prof at McMaster U., leads us through the space, which features thought-provoking, spooky and humourous images and installations. Totally destroys the stereotypes of joyless, humourless feminists and lesbians by giving these preconceived notions a good send-up. On until October 30 – 4 till 8 p.m. daily or by appointment. Take the alleyway on the south east side to get to the entrance.
Urban Federation of Artists at Gallery Catalyst is a remarkable, edgy and eclectic multi-artist show. Here are some artists that stood out for me:
Nik Beat’s work is a selection of darkly whimsical multi-media collage pieces, featuring images of pop culture and famous musicians.
Dr. Seuss – yes, that Dr. Seuss – unique drawing style is on display, and for sale, in numbered prints of illustrations from some of his most beloved books.
Tanja-Tiziana gorgeous black and white photographs combine nostalgia, memory and iconic architecture.
Alice Zilerberg’s stunningly beautiful altered photographic images are where dream meets nightmare meets fairy tale.
As some of you know, I auditioned for Alumnae Theatre Company’s New Ideas Festival 2013 and, after being called back to read for two plays, was cast in the Week One reading of Jamie Johnson’s play Falling, directed by Ed Rosing.
I don’t want to give too much away – since I dislike spoilers and want you to come see for yourselves – but I can tell you that Falling is a mother/daughter drama, beautifully written, and presented through personal storytelling and fairy tale. The daughter (Constance) is presented at four different ages, played by four different actors, and each contributes pieces of memory – vital moments from her life at that age – in a desperate effort to reconnect with her estranged mother Lou. I play the oldest version of Constance, at 48 years old.
Last night, we just finished the second of our first two rehearsals – the first on Friday night was a series of one-one-on meetings with Ed and assistant director/stage manager Jake Simpkins to discuss character specifics, as well as the overall rhythm and tone of the play. The entire cast was out last night for the first read-through: Ruth Miller (Lou), me (Constance, at 48), Kristen Scott (Consti, at 30), Cora Matheson (Con, at 18) and Carys Lewis (Connie, at 12). We were joined by Jamie, as well as sound designer Rick Jones, who is putting together some lovely background music for the fairy tale portions of the reading. BTW: Jake schleps in from Windsor to work with us and, luckily, he drives – though we were a bit concerned about the driving conditions in last night’s weather.
It is both interesting and complex playing one version of the same character. The older the version of Constance, the more autobiographical knowledge she has – and we discussed how some of us would know things our younger selves wouldn’t, and how each older Constance had the opportunity to be reminded of forgotten details by a younger self. Personally, I’ve been fascinated by those little tricks of memory, and how we sometimes need to rely on journals or others to fill in forgotten details – positive or negative. How is the current version of us different from younger versions? Our similarities can be even more interesting. What about our younger self do we miss, want back? What changes do we embrace?
Another big topic that came up was things hidden and things revealed. Lou is hearing some familiar stories of her daughter’s life – but is unaware of the whole story. The same goes for Constance regarding her mother’s experience. And, in the case of Consti and Constance, mother and daughter are all but strangers. As our characters, we’re exploring: What do we know? How does what we’re hearing differ from what we thought we knew? What are we hearing for the first time?
In a combination reminiscent of the play Albertine in Five Times and the movie Terms of Endearment, Falling combines the complexity of multiple versions of the same character with the complications of the mother/daughter dynamic – with the backdrop of domestic violence in a rural setting. Along with the languid fairy tale storytelling , the imagery is lovely, magical and haunting: the moon, the night, the apple tree. And, while Lou’s and Constance’s lives are far from happy ever after, it is Lou’s fairy tale storytelling that comforts and binds them together – and becomes a possible path to reunion and forgiveness.
Falling will be presented as a reading, with one performance only, on Saturday, March 9 at noon in the Alumnae Theatre Studio. New Ideas Festival readings are pay-what-you-can. For full program details and reservations, please visit the Alumnae Theatre website: http://www.alumnaetheatre.com/