Toronto Fringe: A new mom’s fears come to life in the hilariously candid, deeply poignant Night Feed

Corinne Murray, with puppet fur bunny and puppet baby. Puppet construction by Shawna Reiter & Jonathan Davis. Photo by Dahlia Katz.

 

Canvas Sky Theatre gets us up in the middle of the night with Sarah Joy Bennett’s hilariously candid, deeply poignant Night Feed; running in the Tarragon Theatre Extraspace. Directed by Bennett and associate director Ginette Mohr, with puppetry direction by Shawna Reiter and guest puppetry direction by Mike Petersen, everyday household objects come to life as a new mother’s self-doubt, fears and anxieties surface from her sleep-deprived mind as she breast feeds her newborn.

New Mother (Corinne Murray) is up in the middle of the night nursing her baby (puppet, operated by Murray), who struggles to latch on properly to get enough to eat and gain some weight. In her exhausted state of mind on the couch at 4 a.m., everyday objects around her living room start coming to life (courtesy of puppeteers Ginette Mohr and Sarah Joy Bennett) to taunt, tempt and tell her she’s just not up for this whole motherhood thing. She’s up every hour to feed the baby, she can’t remember when she last washed her hair, she can’t reach that glass of water on the side table without upsetting the baby—and she doesn’t know a lullaby!

Anything and everything can, and does, become a puppet here—in some cases by design or just regular objects, manipulated to move and speak. Concerns about neglected personal hygiene and appearance emerge as the Mother’s hair, breasts and even vagina speak to her. And the fur bunnies (puppets) accuse her of slacking off on the housekeeping, really sticking it to her with mentions of her mother and grandmother’s accomplishments in this regard—represented by two quilts hanging over the back of the couch, as thoughts of the mothers before her become both critical and comforting.

Scholarly books bemoan that she hasn’t gotten to them, while children’s classics preview the promise of shared readings to come. The Internet presents all manner of ridiculousness, especially on Pinterest. And surely the baby will be fine on its own while she goes for a bike ride—oh, but the sutures. Highlights include a book on breast feeding (Mohr) that cheerily chirps on about how easy and vitally important nursing your baby is, while passive aggressively damning the use of formula. And What to Expect (Mohr) gets into an all-out brawl with a bottle of Jack Daniels (Bennett) when it tries to tempt the mother to a drink. And the breast pump—best real object turned puppet ever! And did you know that, regardless of sex, we all have a vagina puppet (also, who knew she was French)? You’ll just have to go see for yourselves to see what I mean.

Lovely work from the cast as they run the gamut of new parent concerns. Murray is comically poignant as the Mother; struggling with self-doubt on a few hours of sleep a day, she’s able to brush off some fears and self-criticisms, while others land like a punch to the gut. And Mohr and Bennett are a diabolically hilarious tag team of postnatal torture as they give life to the objects around the Mother—showcasing some fine character voice chops in the process—and in some cases flanking her (in matching pj’s) to bring her inner voice to life as rookie maternal self-doubt and fears emerge.

In the end, the Mother knows she’ll falter, but she’ll do the best she can—be present, love, nurture—and the lullaby will come.

Night Feed continues in the Tarragon Theatre Extraspace until July 14; check the show page for exact dates/times and advance tickets. This show has been selling out, including last night’s performance, so advance booking is a must.

Memories of grade 6 & the search for identity in the brave, endearing, immersive ERASER

Clockwise from top centre: Christol Bryan, Marina Gomes, Yousef Kadoura, Tijiki Morris, Nathan Redburn & Anthony Perpuse. Set & costume design by Christine Urquhart. Lighting design by Rebecca Vandevelde. Photo by Sam Gaetz.

 

Eraser Theatre brings the world premiere of its immersive production ERASER, presented as part of Why Not Theatre’s RISER Project 2019, to The Theatre Centre’s Incubator stage. Created by the ensemble, along with director/choreographer team Bilal Baig and Sadie Epstein-Fine, ERASER invites the audience into the world of the six performers’ grade 6 memories and fantasies, weaving their individual experiences together as their young student selves navigate their tween lives and struggle to figure out who they want to be.

The endearing, brave, high-energy ensemble features Christol Bryan (Whitney, the Queen Bee), Marina Gomes (Tara, the Know-it-all), Yousef Kadoura (Jihad, the Follower), Tijiki Morris (Afroze, the New Kid), Anthony Perpuse (Eli, the Space Cadet) and Nathan Redburn (Noah, the Sad One). As you enter the theatre space, you’re given a lanyard that bears the name and image of one of the students; this student will be your guide throughout the experience, and you’re invited to join them in their space before the action begins.

ERASER - Anthony Perpuse
Anthony Perpuse. Set & costume design by Christine Urquhart. Lighting design by Rebecca Vandevelde. Photo by Sam Gaetz.

I was put on team Eli (Perpuse), and we joined him in his room, hanging out and getting to know him before the start of the new school year. A gayby kid of Filipino heritage, nearly 12-year-old Eli has two moms—with one mom’s brother being the sperm donor for the other mom’s pregnancy. He’s a chill, affable, curious kid who loves to hang out in his room, stretching and playing video games, especially Pokémon; and he’s got a nostalgic side, favouring games he played as a kid (i.e., an even younger kid).

Audience members following a character* become that student’s group of friends, their confidantes, their posse—and we follow them through the sixth grade minefield of gym and math class, the cafeteria and playground, class presentations, a game of Truth or Dare, and a school dance. Each character reads as an archetype for someone you surely knew—or maybe even were—in grade 6 yourself; interesting dynamics emerge, and theories and rumours abound. How did Noah’s brother die? What’s the deal with the new kid? Who has a crush on whom? Who’s failing math?

The remarkable ensemble invites us in as they open their hearts, minds and sixth grade experiences to us. The six individual stories are woven together with scenes, movement and audience interaction—with engaging and moving results; and the appearance of their teacher, Miss Hall, is indicated with the footstep sounds of her heels. Bryan’s Whitney may be the alpha kid on the playground, but her confident, take-charge demeanour masks the profound sense of frustration and oppression she, the only Black kid in the class, feels over being singled out for discipline when the whole class was involved. Gomes’s A-student Tara relishes learning and academic success, and dreams of becoming an important political figure—while, underneath it all, she just wants to belong and have a nice, cute boyfriend. Kadoura’s Jihad, who wears a prosthetic leg, seems happy to follow his friends, yet he’s the one they call upon to approach the new kid; he has a big, open heart and a supportive network, but you get the sense that he’s struggling with his place in the world.

Morris’s Afroze, a white girl raised in Pakistan, is navigating both culture shock and being the new kid in a group of kids who’ve grown up with each other. Struggling to make friends as her classmates treat her like some strange, exotic creature, she holds the familiar comforts of home close as she works out a way to fit in to this new world. Perpuse’s laid back Eli reveals a pensive, sensitive soul struggling with math class—and wondering why his friend Noah is ignoring him after they got so close over the summer. Sometimes, Eli needs to give himself a time out from it all, craving a solitary moment so he can sort things out in his head, or let his pent-up frustration safely erupt. And Redburn’s Noah desperately wants his life to just get back to normal after his brother died this past summer; reaching out, then pulling away from his friend Eli as he grapples with grief, loss and attraction.

If you’re an adult audience member, you may find yourself becoming that kid you were in grade 6—or at least remembering what it was like. The emerging hormones and curiosity about sex, the gossip and note passing, the mortifying shyness at the school dance, the joyful fantasies of future success, and fears of failure or having your most secret desires made public. Some of it comes to matter deeply, some of it doesn’t. And while each audience member will experience the show in their own personal way, everyone will take away something from the experience.

ERASER continues in the Incubator at the Theatre Centre until May 14, with performances May 10, 11 and 13 at 7:00, and matinées on May 9, 11 and 14 at 2:00 (with a 30-minute talkback following matinées). Tickets available online, in person at the box office, or by calling 416-538-0988.

*There is seating for those with mobility issues; they will have a good vantage point—and, in some cases, the action will come to them.

Absurd, uncomfortable & ultimately human interactions in the darkly funny, unsettling Little Menace: Pinter Plays

Diego Matamoros, Alex McCooeye, Gregory Prest & Maev Beaty. Set & costume design by Shannon Lea Doyle. Lighting design by Simon Rossiter. Photo by Dahlia Katz.

 

Soulpepper opened its darkly funny, unsettling buffet of short Pinter plays at the Young Centre last night with Harold Pinter’s Little Menace: Pinter Plays, directed by Thomas Moschopoulos; and featuring 10 short pieces played out in 14 scenes over the course of 90 minutes. The short, pointed examinations of human interaction are at times absurd, uncomfortable and even surreal—and, in the end, ultimately human.

Little Menace: Pinter Plays features Trouble in the Works, Last to Go, Special Offer, That’s Your Trouble, New World Order, Victoria Station, Apart from That, The Press Conference, The Basement and Night; New World Order appears twice, switching up the actors and the scenario, and Apart from That is played out in four variations, aptly bookending the performance. The impressive four-member ensemble includes Maev Beaty, Diego Matamoros, Alex McCooeye and Gregory Prest.

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Alex McCooeye & Gregory Prest. Set & costume design by Shannon Lea Doyle. Lighting design by Simon Rossiter. Photo by Dahlia Katz.

Ranging from the bizarre in the hilarious mundanity of the workplace in Trouble in the Works (played with bang-on dead pan and impressive articulation by Matamoros and Prest) and the unlikely but tempting weirdness of Special Offer (a wry, incredulous Beaty, playing a high-level professional); to the sharply funny failures to communicate in Apart from That (all four actors, in four different pairings of beautifully awkward, polite exchanges where no one really says anything) and the ‘Who’s on First’ vibe between dispatcher and taxi driver in Victoria Station (Matamoros as the gruff dispatcher at his wit’s end and McCooeye as the child-like, simple driver), Little Menace highlights the awkwardness and missed connections in our day-to-day communication.

The discomfiting scenarios of personal and political dominance in The Basement (ensemble), the menace of terrible things to come in New World Order (McCooeye and Prest in a thuggish turn that goes from darkly funny to plain dark when they switch up roles and include Matamoros as a hostage in the second incarnation), and the sharply funny satire of a civil servant working in the culture sector in Press Conference (featuring a chilling matter-of-fact Matamoros as the civil servant) look at the darker sides of human connection. And the lovely nostalgia of Night highlights how even cherished reminiscences between a loving couple (Beaty and Matamoros, in a beautifully quiet, intimate performance) can be mixed up or forgotten altogether.

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Diego Matamoros & Maev Beaty. Set & costume design by Shannon Lea Doyle. Lighting design by Simon Rossiter. Photo by Dahlia Katz.

Stellar, compelling performances from the ensemble in this intimate, often raw series of short plays—showcasing the range of the talent on stage in performances of authentic nuance and intense rawness. Nicely supported by the sharply modern, sterile—open concept, yet claustrophobic—set and neutral grayscale of the costumes (both designed by Shannon Lea Doyle); and Simon Rossiter’s shadow-casting, modern aesthetic, sometimes intensely interrogative, lighting design.

What’s real? What’s true? What the hell is going on? Even in the most everyday, mundane situations, we’re a strange lot; and there’s a lot that goes on between the lines and in those awkward silences as we get caught up in our own fears and the various eccentricities of our inner worlds. And that’s a huge part of what makes us human.

Little Menace: Pinter Plays continues at the Young Centre until March 10; advance tickets available online, or by calling the box office at 416-866-8666 or 1-888-898-1188.