A family confronted with its own #MeToo secret in the complex, honest Lies and Consequences

You can’t change the past, but you can share it.

Rare Day Projects presents Carol Libman’s Lies and Consequences, directed by Jeanette Dagger and running this week only at Red Sandcastle Theatre. With the genesis of the play occurring well before the emergence of the #MeToo movement, playwright Libman was inspired to return to it and complete the script—and tell this story.

Lauded popular author Martha (Tara Baxendale) is under pressure to complete her next novel, inspired by Catherine the Great, as she juggles the scheduling nightmare that is her professional and personal life. Struggling with writer’s block, but looking forward to catching up with her sister Cathy (Martha Breen) at an upcoming weekend of celebration around her cousin/BFF Peter’s (Ryan Bannon) science award ceremony, she’s suddenly thrown back into the past when a drunken make-out session with her journalist boyfriend Andre (Derek Perks) goes from clumsily enthusiastic to overly aggressive, triggering the memory of a childhood incident of sexual assault.

Confiding in Cathy, Martha shares how their uncle John (Christopher Kelk)—Peter’s father and their deceased father’s brother—attempted to sexually assault her while they were alone at her home, retrieving chairs for a family picnic; she was 10 years old at the time. Peter’s wife Karen (Clara Matheson) has invited the whole family to a dinner in Peter’s honour—but Martha finds herself unable to attend, as she wishes to avoid all contact with John. She also doesn’t want to spoil Peter’s weekend by telling him what happened with John. Still wanting to see her cousin, she drops by his hotel room to congratulate him and decline the dinner invitation—where she bumps into John.

A confrontation between Martha and John in the hotel hallway grabs the attention of Karen and Peter, who invite them back into their room to learn what is amiss; they are soon joined by Cathy. Revelations, denial and gaslighting ensue, as the family divides into those who believe Martha and those who believe John’s version of the story—that Martha’s assertions are the result of childish misunderstanding and misinterpretation.

Lovely work from the cast on this timely, sensitive topic—covering the gamut of responses to a family incident of assault on a child. Baxendale does a nice job balancing Martha’s sharply intelligent and tightly wound adult side with the haunted, fearful child within. The past keeps rearing its ugly head, and Martha must find the courage to confront it if she’s going to have any peace. Kelk’s performance as John deftly combines the likeable with the deplorable; the supportive and trusted favourite uncle accused of having dark, secret desires—which John vehemently denies, spins and gaslights his way around. Classic victim-blaming and shaming, as the perpetrator makes himself out to be the wronged party as the survivor struggles with self-doubt and self-blame.

As Cathy, Breen brings a bubbly, positive, supportive light to the dark fog of Martha’s situation; open-minded, open-hearted and listening, Cathy is sharply contrasted by Matheson’s prim, controlling Karen—who seems to care more about avoiding disruption to her perfectly orchestrated celebration plans for Peter’s award. Bannon is adorakable as the brilliant but disorganized Peter, giving the performance an affable, absent-minded professor flavour. And Perks is both devilishly charming and sweetly supportive as Martha’s boyfriend Andre; not as woke as he might think, Andre’s willing to listen, learn and change his behaviour.

The ripples of sexual assault are far-reaching, impacting the survivor’s perceptions of time, space and intimacy—and, in this case, family dynamics. Internalized shame, self-blame, and the fear of not being believed or heard have silenced Martha, leaving her haunted and second-guessing herself. And it isn’t until she’s able to share her experience with Andre, who realizes he was in the wrong that drunken date night, that she’s able to fully communicate what was behind her reaction to his advances—and ultimately move on from the past.

Lies and Consequences continues at Red Sandcastle Theatre until May 5, with evening performances at 8 pm May 2-4; and matinées at 2 pm on May 4 and 5. Tickets ($25 general; $20 for students/seniors/arts workers) are available at the door (cash only), online or by calling 1-800-838-3006.

 

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The battle for survival & inclusion in an elite Chinese sanctuary in the provocative, darkly funny Yellow Rabbit

En Lai Mah & April Leung, with Amanda Zhou in the background. Set & costume design by Jackie Chau. Lighting design by Jareth Li. Video design by Zeesy Powers. Photo by: Cesar Ghisilieri.

 

Soulpepper presents the world premiere of Silk Bath Collective’s (SBC) provocative, darkly funny, multimedia and trilingual Yellow Rabbit, written by Bessie Cheng, Aaron Jan and Gloria Mok, directed by Jasmine Chen and running at the Young Centre. Set in a post-nuclear apocalypse dystopia, with dialogue in English, Cantonese and Mandarin (with surtitles), contestants are tested and assessed in a life or death competition to gain entry into the Chinese sanctuary Rich-Man Hill. A beautiful oasis from a harsh and dangerous land, competition is fierce and standards are strict—and only those who are deemed worthy are allowed access.

Yellow Rabbit represents the evolution of SBC’s sold-out production of Silk Bath, which debuted at Toronto Fringe and went on to the Next Stage Festival—making history as the first trilingual play at the Fringe. While Silk Bath focused on external stereotyping and oppression of Chinese-Canadians, Yellow Rabbit dives deep into internalized racism and extremism. You have to be the ‘right’ kind of Chinese to get into Rich-Man Hill.

Woman (April Leung) and Man (En Lai Mah) are brought into the testing facility, paired as husband and wife by Rich-Man Hill authorities, as they’ve been identified as a good match to carry on the Chinese race in this post-apocalyptic world. Overseen by Mother (Amanda Zhou), assisted by Child (Bessie Cheng), Woman and Man must pass a series of tests and challenges designed to prove their excellence—and ultimate worth—as ideal Chinese citizens; and the assessment process is a life and death prospect.

Hounded and hunted in the outside world, Chinese survivors are willing to risk anything to get into Rich-Man Hill. Contestants are fitted with collars, which Mother and Child use to manipulate and discipline with painful shocks. In between challenges, contestants view propaganda videos (by Zeesy Powers) showing Mother and Child enjoying a loving, trusting relationship in a breath-taking, verdant landscape highlighted by a refreshing waterfall. The Woman and Man both have secrets they’re keeping from Mother, but share with each other in an attempt to connect and work together to get through the trials. Meanwhile, Mother and Child find they don’t agree on the standards Mother has set; the more narrow-minded, old-school Mother is much more stringent on who is deemed worthy, while Child is more progressive and desires more modern, forward-thinking parameters.

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Amanda Zhou & Bessie Cheng. Set & costume design by Jackie Chau. Lighting design by Jareth Li. Video design by Zeesy Powers. Photo by: Cesar Ghisilieri.

Great work from the ensemble, balancing the dark humour with the disturbing nature of the situation. Leung and Mah have great chemistry as Woman and Man; both are strong-willed and determined, but realize that they must try to get along and work together, as all the tests are applied to them as a pair. Both deeply troubled and conflicted, the secrets that Man and Woman harbour speak to the core of their identity; and it’s heart-breaking to watch them try to be something they’re not in order to pass the tests and survive. Zhou gives Mother an ethereal air of mystery—a combination spiritual and community leader spouting wisdom and guidance; but beneath Mother’s nurturing exterior is a harsh and unforgiving authoritarian. Cheng’s Child is an innocent, devoted follower and assistant to Mother; but even Child’s loyalty goes only so far—and, despite her more modern-day views, her model is still based on the totalitarian regime already running Rich-Man Hill.

Extreme standards and isolation breed fear and contempt for outsiders and those not deemed the ‘right’ type of Chinese. And with such strict rules for entry and fewer potential contestants at her disposal, Mother risks weakening the community she’s supposed to be protecting.

Yellow Rabbit continues for its final week at the Young Centre, closing on December 1. Get advance tickets online or call the box office: 416-866-8666 or 1-888-898-1188. Advance tickets are a must; if a performance appears to be sold out online, check again—as some tickets may be released close to or on the day of.

SummerWorks: Death, fear & loneliness in the spine-tingling, darkly funny, Hitchcockian A Girl Lives Alone

Photo by Molly Flood.

Theatre Mischief gives us a spine-tingling, darkly funny turn—and a unique look at death, loneliness, fear and how people live together—in its SummerWorks production of Jessica Moss’s Hitchcock-inspired murder mystery comedy A Girl Lives Alone. Directed by Moss and the company, the show is currently running in the Theatre Centre’s Franco Boni Theatre.

New to her NYC apartment, Marion (Samantha Madely) returns home one night to find her fellow tenants assembled outside, their building taped off as a crime scene. A young woman in the building was murdered, at home in her apartment, the unknown perpetrator still at large. A murder mystery, Hitchcock fan obsessed with her ex-boyfriend’s classic murder mystery-inspired radio show podcast, Marion becomes hell-bent on investigating her neighbours in hopes of discovering the murderer. Gradually, she gets to know her fellow tenants: the opinionated, judgemental and fastidious Alma (Anita La Selva); the harried landlord Murray (Alexander Thomas); boyfriend/girlfriend pair the volatile Stewart (Aldrin Bundoc) and chatty Kim (Asha Vijayasingham); the nervous, quirky Janet (Jessica Moss); and the creepy, enigmatic Foley Artist upstairs (Andrew Musselman). Watching from the sidelines is the bubbly actress Grace (Tiffany Deobald), the murder victim. Grace lived alone.

The murder is a catalyst for a variety of shifting dynamics within the building; heightening suspicions, and driving self-advocacy and the realization that the tenants don’t particularly know each other that well. Their previous perceptions of safety and comfort profoundly shaken, no one in the building is the same. We see the dark and tender sides of the neighbours as the story unfolds; and everyone has their own way of coping. Janet binge-watches Friends on Netflix while others enjoy Law & Order SVU, Alma calls Murray out on a long-neglected repair to her place and Marion becomes Nancy Drew. Both terrified and fascinated by the strange Foley Artist who lives directly above her, Marion can’t stay away as he shows her the tricks of his trade, at her request, up in his place.

Outstanding work from the ensemble, riding a fine edge of comedy and psychothriller in this gripping, darkly funny tale of mystery, and dangers real and imagined. Noises in the dark—the young couple sexing or fighting, the Foley Artist at work, someone coming upon you suddenly—all take on new meaning and put everyone on edge. And some new, unexpected alliances are forged as well. What do you need to feel safe and comfortable in your own home? And how do women who live alone mitigate the risk? And how do you cope when the unthinkable happens so close to home?

With shouts to the design team for their gripping, atmospheric work on this production: composer/sound designer Richard Feren, set/costume designer Claire Hill and lighting designer Imogen Wilson.

A Girl Lives Alone has one more performance at SummerWorks: tonight (Aug 19) at 8:30 p.m.; advance tickets available online.

 

Fearful & alone in loss, love & trying to find meaning in the edgy, philosophical, quirky Thom Pain

Owen Fawcett. Photo by Nicholas Marinelli.

 

Theatre By Committee opened its production of Will Eno’s Pulitzer Prize-nominated Thom Pain (based on nothing), directed and designed by Hannah Jack, and assistant directed by Brandon Gillespie, at Hub 14 last night.

Starring Owen Fawcett, Thom Pain explores fear, loss and the profound, regret-filled sense of being alone. Speaking directly to us throughout, Thom—alone, extremely well-educated and deeply wounded—slip slides, stagger glides, and otherwise careens and halts inside his own story as he stumbles, ruminates and struggles to piece together bits of memory, personal narrative and fleeting thoughts. Philosophical, cerebral, visceral and primal, he’s an extremely intelligent guy academically but not emotionally; and there’s a poetic ferocity to his mental thrashing about, and a lost boy quality to the way he occasionally lashes out. And immediately apologizes.

Fawcett gives a compelling performance as we follow Thom down the rabbit hole of his psyche. Entertaining and charming in an awkward, quirky sort of way, Thom teases and mocks, riding the edge of cruelty without descending into it as he tells these dark stories. Stories of childhood, childhood loss and loneliness; stories of love and loss of love and aloneness. There’s an awkward poignancy to his self-conscious, self-analyzing, self-deprecating delivery—and Thoms’s weary, often distracted, journey through thoughts and memory connects and resonates in such a way that we really believe him whenever he points out that we’ve all been there. And, like him, we’ve all had moments of beauty and moments that destroyed us—and we’re all trying.

The very intimate space at Hub 14 puts the audience up close and personal with this performance; but don’t worry, Thom is respectful of your space.

Fearful and alone in loss, love and trying to find the meaning of it all in the edgy, philosophical, quirky Thom Pain.

Thom Pain (based on nothing) continues at Hub 14 (14 Markham Street, Toronto) till April 8. It’s a weekend-long run, with performances tonight (April 7) at 8:00 pm, and tomorrow (April 8) at 2:00 p.m. and 8:00 p.m. It’s also a very intimate space with limited seating. Get your advance tickets online.

Family legacy, identity & repressed anger released in the sharply funny, biting Bad Jews

Rebecca Applebaum, Kristopher Turner & Daniel Krantz in Bad Jews—photo by Dahlia Katz

 

We’re all invited to crash at Jonah and Liam’s as we pay our last respects to their grandfather in the Koffler Centre of the Arts’ production of Joshua Harmon’s Bad Jews, directed by Michèle Lonsdale-Smith. Bad Jews opened last night in the Small World Music Centre at Artscape Youngplace.

Set in an shoe box-sized NYC studio apartment, which Jonah (Daniel Krantz) and Liam’s (Kristopher Turner) parents bought so they could have a place to stay in their building during the funeral, Bad Jews takes us on an emotional journey as we get a taste of the repressed anger, hidden resentments, judgements and expectations of this family. The apartment becomes a physical representation of the claustrophobic, everyone in everyone else’s business that is the family dynamic—especially potent among this group of 20-somethings, who are in the midst of establishing their own lives and identities while they navigate parental, cultural and religious expectations.

We first meet Jonah, lounging on a double air mattress in his dress shirt, boxers and yarmulke, playing video games. The brothers’ cousin Daphna (Rebecca Applebaum) has been staying with him on the pull-out couch. It’s just after the funeral and there is a quiet, exhausted atmosphere as Daphna hangs up their clothes and attempts conversation. She’s pissed that Liam missed the funeral; he was in Aspen with his girlfriend, lost his phone and didn’t get the message in time, and is due that night, girlfriend in tow. There’s something of their grandfather’s that Daphna desperately wants; a precious family heirloom, a piece of jewellery given to their grandfather by his father and kept safely hidden during the Holocaust. She wants Jonah’s blessing; he doesn’t want it, but he’s unwilling to take sides and wants nothing to do with the decision.

When Liam arrives with his non-Jewish girlfriend Melody (Julia Vally), Jonah learns that not only does Liam want the treasured family heirloom, he’s already got it. Both Daphna and Liam have very good reasons for wanting the necklace; and both have very different approaches and perceptions toward their family’s Jewish traditions and faith. Coupled with perceptions of entitlement, family loyalty and being a ‘good’ Jew, things get ugly between them pretty fast. It’s clear these two already don’t like each other and the battle over their grandfather’s jewelry is steeped in long-term, ongoing resentment. Melody tries to act as mediator, but ultimately can’t break through—no wonder, as she’s just been introduced to the family and has no idea about the history behind the verbal savagery she’s witnessing. In the end, we’re left with just Jonah and Daphna again—only now, the tone and atmosphere of their conversation is quite different. And further revelations emerge after the cathartic blow-out.

Lovely work from the cast in this claustrophobic and caustic dark comedy. As director Lonsdale-Smith pointed out during the post-show talkback, anger is motivated by fear; the fear of letting people go, death, identity, how we may take a different path from our parents—and these characters are angry. Krantz does a beautiful job with the soft-spoken, mild-mannered Jonah’s complexity and inner conflict. Jonah gives the impression of being checked out and disinterested, and perhaps even not as smart as his older brother and cousin, but he’s aware and listening—and he feels things more deeply than you might think as he struggles with his grief. Applebaum, who identifies as mixed race (half Asian, raised Jewish), used her lived experience to bring scope to her laser-focused performance as the sharply intellectual, self-righteous Daphna. A super observant Jew, and a Vassar student bound for Israel, rabbinical school and the army, Daphna is always looking for a debate, if not an outright fight. Constantly on the lookout for fault in others, Daphna’s devotion is of the holier than thou, selectively fundamentalist variety—but much of this is a shield for a deeply wounded, lonely soul.

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Rebecca Applebaum, Julia Vally & Kristopher Turner in Bad Jews—photo by Dahlia Katz

Turner brings a ferocity and intellectual vigour to Liam, who’s chosen a more secular path and even changed his name. The eldest son of a well-off family, there’s more than a whiff of entitlement about Liam, and his anger is vicious when it erupts; however, his wish to mirror a gift their grandfather made to their grandmother reveals the depth of his love and appreciation for family and for Melody. Vally gives a great sense of firmness and strength to the sweet-natured, genuinely good Melody. A former opera student who loves music, but in the end decided that career path wasn’t for her, Melody is an administrator at a non-profit organization—helping others is in her blood, but she can’t seem to help Liam’s family issue. How could she?

Ultimately, as Turner mentioned toward the end of the talkback, this is a play about family—the history, the love, and intellectual and emotional dynamic that twists and turns across generations and through time. And nothing brings out the good, bad and the ugly like family, especially during meaningful, emotionally fraught family gatherings.

Family legacy, identity and repressed anger released in the sharply funny, biting Bad Jews.

Bad Jews continues in the Small World Music Centre at Artscape Youngplace until June 4; get your advance tix online via the show page or through Eventbrite. Advance booking recommended; it’s an intimate venue, fitting with the cramped space of an NYC studio apartment.