Toronto Fringe: Burlesque macabredy delights in the erotic queer vampire tale Carmilla

Heath V. Salazar & Stella Kulagowski. Photo by Sly Feiticeira.

 

Pointed Cap Playhouse takes Toronto Fringe audiences to a Victorian world of frightening yet titillating portents and strange, alluring creatures in Adam Steel’s burlesque adaptation of Carmilla; running at The Painted Lady. Co-created by Sly Feiticeira, Stella Kulagowski and Adam Steel, and directed by Kay Brattan, this version of the vampire was inspired by Joseph Sheridan La Fanu’s book, which pre-dated the Bram Stoker classic by 26 years. Here, the vampire is attractive, seductive and rife with eroticism—think Frank Langella’s or Gary Oldman’s Dracula, or the beautiful creatures from Interview with the Vampire.

Carmilla opens on the English country home of Dominic Sheridan (Shawn Lall), where he lives with his lovely, well-mannered flaxen-haired daughter Laura (Stella Kulagowski) and prim governess Mlle. De La Fontaine (Amanda McKnight). Laura’s hopes and excitement over the impending visit of new friend Bertha (McKnight) are dashed when they learn that Bertha has succumbed to a mysterious illness and died. A carriage accident near their home brings an equally mysterious woman (Sly Feiticeira) to their door, searching for a place to sequester her injured daughter as she continues on an important mission. Sheridan takes the daughter in, an unconscious figure wrapped in a cloak.

Bertha’s grief-stricken father General Spielsdorf (Sebastien Marziali) travels to Romania in search of answers for his daughter’s death, posting regular updates to Sheridan. Meanwhile, Laura becomes fast friends with their young guest, a strikingly beautiful, pale young woman with raven hair named Carmilla (Heath V. Salazar). When their friendship evolves into something more, and Laura starts dressing and behaving in an uncharacteristic way, Sheridan becomes concerned for his daughter’s health. And when the General returns with some troubling information about the nature of the deadly ailment, suspicions about Carmilla are confirmed.

Part burlesque, part melodrama, part macabredy—with a dash of erotic fairy tale—Carmilla is a sexy, fun romp of a queer vampire tale, presented with style, sass and seductiveness. Featuring evocative, fun and sensual choreography by Kulagowski, Salazar and Marziali, it’s a rousing burlesque delight. If you’re a burlesque virgin, no worries—Mlle. De La Fontaine will reveal all when it comes to burlesque audience etiquette.

Carmilla continues at The Painted Lady, with performances tonight (July 12) at 7pm, and Saturday and Sunday at 1pm. Last night’s show was sold out, and it’s an intimate venue, so advance booking is a very good plan.

Want to check if the show you want to see is sold out? The Toronto Fringe folks have set up a page for sold-out shows, updated daily.

 

 

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Pun & games for kids of all ages, with hilarious panto good times, in RaPUNzel

 

Amelia Welcher as RaPUNzel (top) and Kristen Foote as Bunny (bottom)—photo by Burke Campbell

 

Red Sandcastle Theatre’s Panto Players are back at it again with more pantomime shenanigans in RaPUNzel, written by Jane A. Shields and Rosemary Doyle, and directed by Jackie English. RaPUNzel marks the company’s 7th annual holiday panto.

This time, the Panto Players take us to Italy in this delightful mashup of beloved fairy tales, pop music and musical theatre tunes as they deliver familiar stories and characters with some goofy—at times surprising—twists. A very pregnant Twankey’s (Chris Gibbs) cravings coax her husband (Farid Yazdani) to pilfer neighbouring ogre Monsanto’s (Taran Beaty) garden for lettuce. His mission becomes compromised and he’s caught in the act, forcing the expecting couple to make a terrible choice. Their thievery comes at a price: they must hand their baby over to the ogre!

Sixteen years later, and having held out on her end of the deal and lost her husband, the Widow Twankey gives in and the ogre gets her daughter RaPUNzel (Amelia Welcher), and locks her in an impenetrable, magically protected tower. Luckily, RaPUNzel’s nimble-footed bff hare friend Bunny (Kristen Foote) is able to get in and out of the tower, and provide our heroine with some company as they try to figure out how to get her out of there. Meanwhile, RaPUNzel’s hair is getting super long—and we wonder if the ogre is as naughty as he wants everyone to believe; after all, his faithful sidekick is a Chicken (Sebastian Marziali). And is Twankey as nice as she appears?

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Chris Gibbs as Widow Twankey, with Co-writer/AD Rosemary Doyle in the background—photo by Burke Campbell

Enter the handsome, though somewhat dim, Prince (Yazdani). Will he be able to free RaPUNzel from her tower prison? To add to the fun, director English returns as our favourite sassy pink cat, who first arrives on sabbatical, but comes on board to assist as only this cat can. And co-writer Doyle appears as the set-changing, noise-shushing Nonna,* a sweet old granny who suffers no fools.

It’s all very wacky and pun-filled—and we’re all invited to join in the fun. Gibbs gives a diabolically silly turn as the vain and manipulative Twankey; and Yazdani does an awesome Don Corleone impression as her husband, as well as a comedic, scene-stealing turn as the dim-witted yet determined Prince. Beaty is hilariously conflicted as the ogre Monsanto; holding RaPUNzel captive for “reasons,” the ogre’s love and care of his garden makes you wonder how bad to the bone he really is—and he brings some kick-ass guitar and vocals to that George Thorogood classic in the process.

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Taran Beaty as the ogre Monsanto, with Sebastian Marziali as Chicken (left), Chris Gibbs as Twankey (background) & Amelia Welcher as RaPUNzel (right)—photo by Burke Campbell

 

Welcher is adorably precocious as the feisty punster RaPUNzel; and impresses with great vocal chops on a Pink power ballad. Foote and Marziali give hilarious turns in multiple roles, starting with a pair of mobsters and a couple of dancing lettuce. Foote is hysterical and educational as RaPUNzel’s bff hare pal Bunny, schooling us on the differences between the hare and the rabbit. And Marziali brings cute and wacky fun as Monsanto’s right-hand man Chicken, providing comic observations and cheeky advice.

We’re invited—and encouraged—to cheer the heroes and boo the villain, and sing and groove along with the pop tunes, rap and musical theatre songs. And a few lucky young audience members will have a chance to get in on the action.

With big shouts to stage manager Deborah Ann Frankel, who’s been with this wild and wacky ride from the beginning; running all the lighting and sound cues, and shepherding the cast.

Pun and games for kids of all ages, with hilarious panto good times, in RaPUNzel.

RaPUNzel continues at Red Sandcastle until January 7, with evening performances at 7pm on December 29 and 30, and January 2-6; and matinees at 3pm on December 28 and 30, and January 3, 6 and 7. Get your advance tickets online (see the date-specific ticket links on the show page) or by calling 416-845-9411.

*As of December 28, Nonna will be played by Panto Players veteran Brenda Somers.

Fairy tale meets crime procedural meets romantic dramedy as music, hilarity ensue in the magical, imaginative The Adventures of Tom Shadow

Kevin Vidal, Mark Little, Christian Smith, Lisa Gilroy & Natalie Metcalfe—photo by Samantha Hurley

 

Theatre Lab’s ensemble of top Toronto comedy talent brings a revised version of their hit musical comedy The Adventures of Tom Shadow to the Factory Theatre Studio, directed by Peter Stevens, with music direction and accompaniment by Jordan Armstrong.

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).

The secret thoughts of grownups & the stories they tell in the gripping, darkly funny Mockingbird Close

Tiana Leonty & David MacInnis—photo by Jackie Brown Photography

 

When truth collides with fiction, who can you trust?

INpulse Theatre Co. presents the Toronto premiere of Trevor Schmidt’s Mockingbird Close, directed by Ryan F. Hughes and running at Red Sandcastle Theatre.

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, baking Lois 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 Lois 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

Two women’s memoirs of wartime resilience & survival in powerful, poetic Double Bill: Licking Knives & Man to Man

Headstrong Collective opened its Double Bill of one-person plays – Licking Knives and Man to Man – at Theatre Passe Muraille (TPM) Backspace this week. Using minimalist sets and eye-catching, at times startling, images projected on the upstage wall, these two well-matched plays are portraits of women forced into life-changing, life and death circumstances during WWII where each must live like a chameleon in order to survive.

“Ukrainian people are convinced that everything will turn out shit because it always has. And they are always right.” – Licking Knives

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Melanie Hrymak in Licking Knives – photo by Nathan Kelly

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

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Lisa Karen Cox in Man to Man – photo by Nathan Kelly

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).

 

Big shiny panto fun with Panto Players’ Sleepy Beauty @ Red Sandcastle Theatre

Sleepy-Beauty-Star-CorrectedSheets 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).

Saturday = Artaday

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.

5 By 5 exhibit at the Gladstone Hotel Art Bar Gallery features five local artists, who have joined forces for a collaborative painting exhibit:

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.

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5 By 5 – Brenda Clews performs some of her poetry.
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5 By 5 – Lizzie & Laurie take in Jennifer Hosein’s work.
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5 By 5 – Opening reception guests mingle, with Greg Nordoff’s work in the background.
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5 By 5 – Guests chat, with Jacques Albert’s and Anna Karoliina Koskinen’s work in the background.

5 By 5 closes on October 26, so get on over to the Gladstone Art Bar Gallery.

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Kill Joy’s Kastle – The tour waiting area aka “the Womb”
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Kill Joy’s Kastle – The larger than life Goddess figure.
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Kill Joy’s Kastle – The Carpet Muncha installation.
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Kill Joy’s Kastle – The Hall of Straw Feminists (Liz Lemon & Margaret Thatcher).

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.

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Urban Federation of Artists – Opening reception guests mingle & view the art at Gallery Catalyst.
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Urban Federation of Artists – Lizzie Violet & artist Nik Beat.
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Urban Federation of Artists – Nik Beat’s and Alice Zilerberg’s art on display, with pieces & prints available for purchase in the trays below
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Urban Federation of Artists – A live model in full body paint stands in the front window.

Alice Zilerberg’s stunningly beautiful altered photographic images are where dream meets nightmare meets fairy tale.

What art has inspired you recently?