Sex, death, snakes & the healing power of flowers & family in Red Betty Theatre & the G Girls’ political, theatrical Ganga’s Ganja

We struggle in birth. We struggle in death.

I popped over to Geary Lane last night for Storefront Theatre’s presentation of Red Betty Theatre and the G Girls’ production of Radha S. Menon’s Ganga’s Ganja, directed by Jennie Esdale. Ganga’s Ganja headlines the Feminist Fuck It Festival (FFIF), a two-week curated festival of multidisciplinary women and non-binary-identifying artists presenting new, bold and entertaining works.

Set sometime in the not too distant future, sisters Mena (Pam Patel) and Ganga (Senjuti Aurora Sarker) have gone off the grid, living on a piece of land where Ganga grows and tends to medicinal marijuana to help ease Mena’s excruciating Multiple Sclerosis symptoms and give her some quality of life. Ever moving in and out of Mena’s consciousness is Kadru (Amanda DeFreitas), a black and gold snake that only Mena can see. Is Mena hallucinating or is Kadru her escort into the next life?

While Mena self-medicates with weed, deeply inhaling the smoke like oxygen, Ganga’s medicine is one-night stands that often keep her out all night, always returning to her caregiving in the morning. Mena is afraid of leaving Ganga alone, and Ganga is terrified of losing Mena. When their marijuana crop is stolen and they meet the fast-talking, charmer Nero (Jesse Horvath), a man with a shiny silver briefcase and a lot of ideas, the sisters’ world is turned upside down. In a world where non-prescription drugs have been criminalized, but big pharma is happy to use plants to create their products, who can they trust—and how will they find a way to let go of each other?

Political and theatrical, the themes of sex, death and alternative medicine combine with feminism, Hindu deities and sticking it to the man. Patel and Sarker have great chemistry as the sisters; and do a nice job layering their respective inner and outer conflicts. Patel’s Mena is cheerful and positive, despite her devastating diagnosis—this all masking her concern, which is more for her sister than for herself. Mena wants to die, to leave her suffering behind and start over in the next life, but she can’t bring herself to leave Ganga. As Ganga, Sarker is a combination of attentive caregiver and devil-may-care party girl; drowning her guilt and fear in random hook-ups, Ganga struggles with the harsh truth that Mena doesn’t have much time left. DeFreitas brings a sensual and fierce edge to Kadru; ever watchful and ever waiting, Kadru is not the menace she appears to be—and appears to represent the faith, tradition and ritual of the sisters’ Indian ancestors. Horvath’s Nero is the perfect picture of white, male entitlement; charming, mercurial and donning a bad boy rebel image, Nero is a 21st century snake oil salesman dealing in mainstream pharmaceuticals. He is the embodiment of Western right-wing conservative, corporate misogyny—all wrapped up in a pretty bleach blond, white linen package.

With shouts to the design team—Tony Sciara (set), Tula Tusox (costume) and Maddie Bautista (sound)—for their work in creating this evocative, otherworldly space that reflects both the South Asian culture of the sisters, and an intriguing environment that’s out of time and space.

Sex, death, snakes and the healing power of flowers and family in Red Betty Theatre and the G Girls’ political, theatrical Ganga’s Ganja.

Ganga’s Ganja continues at FFIF at Geary Lane (360 Geary Ave., Toronto) until April 22, every night (except Mondays) at 7:30 pm and Sundays at 2:00 pm, followed by nightly programming at 9:00 pm and 10:30 pm. Get advanced tickets for Ganga’s Ganja online and check out the rest of the FFIF line-up.

Advertisements

Repost: The search for a woman’s lost voice in the vocal, physical, emotional tour de force Mouthpiece

mouthpiece
Norah Sadava & Amy Nostbakken in Mouthpiece – photo by Joel Clifton

I had the pleasure of revisiting Quote Unquote Collective’s Mouthpiece, presented by Nightwood Theatre and Why Not Theatre—and back by popular demand on stage at Buddies in Bad Times Theatre. Amy Nostbakken and Norah Sadava’s stunning virtuosic performance rocked the packed house last night, receiving a standing ovation with sustained applause.

The film version of Mouthpiece, produced by Patricia Rozema, recently finished wrapping up; and the script has been published by Coach House Books. Mouthpiece continues at Buddies until April 22; the entire run is sold out online, but there may be some tickets held at the door.

The following is a re-post of my review of the premiere performance of Mouthpiece, which opened Nightwood’s 2016-17 season.

Nightwood Theatre opened its 2016-17 season at Buddies in Bad Times Theatre last week, with a unique double bill of Quote Unquote Collective’s Mouthpiece and Anna Chatterton’s Quiver. Mouthpiece was the second show I saw last night.

Mouthpiece is a Dora award-winning Quote Unquote Collective production; created and performed by Norah Sadava and Amy Nostbakken, and directed/composed by Amy Nostbakken, it was featured as part of The RISER Project last year. I missed that production and was so glad I got to see it this time around.

A unique piece of theatre that combines a cappella harmony, dissonance, dialogue and physical theatre, the two performers tell the story of Cassandra, who awakes one morning to discover she’s lost both her mother and her voice. She must pick a casket, flowers and a dress to bury her mother in – and write and deliver the eulogy. And she can’t seem to get out of the tub.

Both performers often play a single character, at times speaking in unison; and, in Cassandra’s case, create a dialogue with herself. From the hauntingly beautiful a cappella harmonies, to unison voice characterizations, and socially apt insertions of fashion magazine titles, ad copy and modern-day references to violence against women, the audience is both moved and tickled as Cassandra struggles with conflicting emotions, inner turmoil and a funeral fashion crisis. How well did she – or anyone – really know her mother? Her grasping for words, as well as her voice, opens up into the broader search for women’s voices. How women speak. How women are heard. How women are perceived.

Sadava and Nostbakken give compelling and entertaining performances. Shifting seamlessly from moment to moment, they execute gorgeous, fluid a cappella harmonies, unison spoken word and expressive movements. Conveying tenderness and ferocity, their work makes for a truly engaging and evocative piece. And they pull off some fabulous celebrity impersonations too, as well as some fun audience participation.

The search for a woman’s lost voice in the vocal, physical, emotional tour de force Mouthpiece.

Mouthpiece continues at Buddies until November 6. You can see it in the double bill with Quiver or on its own. Tickets are sold separately; you can book in advance online or by phone.

You can keep up with Nightwood Theatre on Twitter and Facebook.

Check out the Mouthpiece trailer:

 

 

 

Toronto Fringe: Peeling back the layers in the funny, frank, insightful feminist excavation Operation SUNshine

Jennifer McKinley takes us on an unusual reclamation project in her father’s basement bathroom in her one-woman show Operation SUNshine, directed by Clara McBride and running at St. Vladimir Theatre for Toronto Fringe.

Tasked with preparing her father’s home for sale, McKinley tackles the most complex—and unusual—part of the cleaning and purging process: the basement bathroom that was at one time part of her father’s friend Bill’s living space. Walls and ceiling have been wallpapered with Toronto Sun Sunshine Girl clippings. And as she carefully excises these women from their bathroom prison, she discovers more than just a collection of pin-up girls.

Seeing these images as a piece of childhood/family history—not to mention that they present real women living real lives away from their photo shoots—instead of simply scraping the photos off, McKinley chooses to carefully cut and peel. Rescuing these photos and the lives that go with them, she preserves as many of the images as she can and reads the news stories of the day on the other side of each photo page. What she finds are many stories of tragedy and loss—missing and murdered women and children, and the men who put them there—that still resonate 25 years later in that they are still all too common.

The physical activity of removing the photos becomes introspective, inspiring memories of family history, as well as curiosity about the lives of these women. Using specific physical and vocal attributes, McKinley creates a series of compelling, often funny, sharply defined characters, including her father and her younger selves—and a selection of her (and Bill’s) favourite Sunshine Girls. These are women who enjoy their bodies and their sexuality, in some cases promoting themselves and/or earning a living. The rescue mission turns into a feminist excavation—of these models, the accompanying male gaze and, most importantly, of personal self-discovery. She uncovers a hidden part of herself, one that involved choices intended to make herself invisible and safe.

Peeling back the layers in the funny, frank, insightful feminist excavation Operation SUNshine.

Operation SUNshine continues at St. Vladimir Theatre until July 15; advance tickets available online.

Taking a trip to the other side of Menopause Mountain & giving no f*cks in the hilarious, frank & inspiring The Big ‘What Now?’

Ever wonder what the view was like on the other side of menopause? Or perhaps you’re already there and you need to hear from someone who gets it. Everything but the Kitchens Inc. invites you to join Sandra Shamas and The Big ‘What Now?’, running at the Fleck Dance Theatre, Harbourfront Centre.

Through anecdotes, and thoughtful, sharply funny riffs and musings, Shamas takes us on a personal history tour of life after 50. Having made it to the top of Menopause Mountain—and leaving alcohol, caffeine and memory behind—Shamas enjoys and explores the brave new world of post-menopause as she tears down the assumptions and expectations that render invisible women ‘of a certain age.’ There’s a new sense of clarity, relief and release as menopause burnishes and tempers to an authentic self—and the sheer joy of giving no f*cks.

The storytelling is hilariously entertaining, fierce and fiery at times, and empowering. Self-deprecation blends with cockiness as she revels in being able to bypass the feminine protection aisle at the drug store only to notice the adult diapers at the end of that aisle. Thanks to a strength of will, and not taking “No” or “That’s just the way it is” for an answer, Shamas displays pioneering spirit and grit at her farm house home during bathtub shitmageddon and the 2013 ice storm, as she relates of how she had to dig to find the septic tank, and chop wood for heat and cooking. And was reminded of the beauty of everyday things we take for granted like electricity and a shower—and experiences the depths of gratitude when these became available again. Wrapping the first half, she tells us: she may have been without electricity, but she wasn’t without power.

Pondering issues of identity—and what that looks like after 50—Shamas relates a childhood in a conservative, traditional family where, as a girl, the only thing she was expected to be was good; and how a life-changing trip to the theatre to see Lily Tomlin perform her one-woman show set her on this path of sharing and storytelling. Shows that are snapshots of life at each stage, as she is and what she’s experiencing—and not from some brochure at a checkout counter. Covering topics from retirement, to sexuality, to dating on Tinder and OkCupid, Shamas is frank, unapologetic, genuine and laugh out loud funny.

Finishing with a reflection on all the late bloomer moments in her life, she also considers how, as a farmer who grows food for herself and others, she’s come to learn that seeds will only grow under specific conditions. Everything in its good time, under the right circumstances; so there really are no late bloomers. A reminder that we can all be our authentic selves—and we don’t necessarily have to wait for ‘the change’ to get there.

Taking a trip to the other side of Menopause Mountain and giving no f*cks in the hilarious, frank and inspiring The Big ‘What Now?’

The Big ‘What Now?’ continues at the Fleck Dance Theatre—good news, it’s been held over an extra week until February 19; get your advance tix online. This is an extremely popular show and place was packed last night, so advance booking is strongly recommended.

In the meantime, check out Shamas’s CBC Radio Q interview with host Tom Power and give her a follow on the Twitter.

Photo by Mark Jewusiak.

Rough & rowdy, it’s all guts & no glory in the funny, poignant, political The Gut Girls

They’re an unruly, foul-mouthed, hard-working, hard-drinking bunch ‘a gals—and their world is about to be turned upside down.

Alumnae Theatre starts off the New Year with its production of Sarah Daniels’ The Gut Girls, directed by Maya Rabinovitch. The Gut Girls is part of Alumnae’s Retrospective Series, leading up to its 100th anniversary next season.

The Gut Girls takes us to 1901, where the “gut girls” work in a gutting shed in the Foreign Cattle Market in Deptford, England. Paid good money, but working punishing hours in a foul environment—often up to their ankles in blood—it’s an offal job, but somebody’s got to do it.

Gut girls Polly (Alexandra Augustine), Ellen (Sarah Thorpe), Maggie (Kaya Bucholc) and Kate (Tasia Loeffler-Vulpe) take new girl Annie (Claire Keating) under their wing. Formerly in service, Annie found herself pregnant and fired, now living in a home for wayward women since the birth of her stillborn child—and finds friends, support and some new digs as she learns the ropes in the shed.

Enter do-gooder Lady Helena (Nicole Arends) with her friend Lord Edwin (Brendan O’Reilly) in tow. A self-appointed crusader for the downtrodden, especially working class women toiling in harsh conditions, she is instrumental in running a women’s club that teaches domestic skills and lady-like manners so women can transition into service. Through her friend Arthur (Mike Hogan), Lady Helena brokers an arrangement for the girls to be let off work an hour early on Thursdays, and garners the assistance of Arthur’s painfully shy wife Priscilla (Thorpe) to coax the girls to come to the club.

Hilarious times ensue, revealing class divisions and presumptions, as Lady Helena and Priscilla attempt to tame this wild group of young women. And when they learn that the sheds are to be shut down, their timing for training the women becomes all the more urgent—the gut girls are unemployable without new skills and ‘proper’ manners to recommend them. And the so-called gentlemen Edwin and Arthur prove to be not as gentlemanly as they appear, causing Maggie to quit the club and Priscilla to go on sick leave.

Struggling to learn new skills and find jobs, and with few prospects beyond the factories, pubs, service or the street, the gut girls have to take what they can get—and that means giving up their independence, dreams and even hope, in order to survive. Grimly circumspect about their situation, they’ve got the lady balls to take it, even though their hearts and spirits are broken.

Really lovely work from the ensemble, which shifts adeptly from comedy to drama throughout this compelling—not to mention timely—story. Augustine’s Polly is the roughest, toughest, biggest tomboy of the gang; she’s also a great jokester with a big heart. Thorpe (doing double duty as actor and co-producer) gives a strong, impassioned performance as Ellen, who tirelessly attempts to spread awareness of workers’ rights and the benefits of unionizing; as Priscilla, she blossoms from mousy wallflower to a caring and assertive mentor—a transformation that is quickly, and sadly, nipped in the bud by her bullying husband. Bucholc’s Maggie, like Polly, has a big heart under that devil-may-care attitude; a gut girl veteran, she’s supporting her mum and umpteen siblings—and must make a hard choice in order to keep life and limb together.

Loeffler-Vulpe’s Kate is a cheeky delight; one of the youngest gut girls, she’s an optimistic realist as she dreams big dreams and longs for a better life with her boyfriend Jim (O’Reilly). As new kid Annie, Keating gives us our introduction to the sights and smells of the gutting shed; formerly in a relatively comfortable job in service, Annie has first-hand experience of where ungentlemanly behaviour can put a young working class woman.

Arends is a formidable Lady Helena; on a single-minded mission to tame these rowdy young things into respectable young ladies, her lack of understanding and conditional respect for these women have unexpected, serious consequences. You know what they say about the road to hell. O’Reilly goes from clown to villain as Lord Edwin; a love-sick puppy following Lady Helena about, he turns his unwanted attentions to Maggie in a more forceful manner—with dire results for her. And he gives a sweet turn as Kate’s boyfriend Jim, who dreams of owning a toy shop. Hogan is an especially busy actor, playing four characters; notably the gruff gutting shed foreman Harry, barkeep Len (who has an eye on Maggie), and Priscilla’s controlling, devious husband Arthur.

With big shouts to the design team: Marysia Bucholc for the evocative, textured set (featuring scrubbed blood stains); Wendel Wray for the period costumes (especially the hats!); and Julie Skene for the entertaining period music (ranging from vaudeville to Scott Joplin).

Rough and rowdy, it’s all guts and no glory in the funny, poignant, political The Gut Girls.

The Gut Girls continues on the Alumnae Mainstage till February 4; for ticket info and online purchases, visit their website.

Special pre-show event in the lobby Jan 21 @ 6:45 pm: Prior to tonight’s performance, writer/performer and producer of the storytelling show Storystar Erin Rogers leads a group of storytellers as they relate tales of women’s and workers’ rights. Participants include Toronto-based writer, activist and social agitator Anne Thériault; United Church minister Evan Smith; and Seneca College and Second City storytelling instructor Sage Tyrtle.

Special pre-show event in the lobby Jan 26 @ 6:45 pm: President of United Steelworkers Local 8300 and the Steelworkers Toronto Area Council Carolyn Egan speaks about the rise of the labour movement and its impact on women in the workforce.

Photo by Ashley Elliot: Back – Nicole Arends. Front – Kaya Bucholc, Sarah Thorpe, Alexandra Augustine, Tasia Loeffler-Vulpe & Claire Keating

NSTF: Past & future collide with biting political satire in the hilariously trippy The Death of Mrs. Gandhi & the Beginning of New Physics (a political fantasy)

Everything but the Bard takes us on a time travelling, feminist political fantasy in Kawa Ada’s The Death of Mrs. Gandhi and the Beginning of New Physics (a political fantasy). Directed by Ada and overseen by artistic producer Renna Reddie, The Death of Mrs. Gandhi is currently running in the Factory Theatre Mainspace during the Toronto Fringe Next Stage Theatre Festival (NSTF).

In 1984, a group of female political heavyweights meet for Indira Gandhi’s funeral: Margaret Thatcher (Elley-Ray Hennessy), Benazir Bhutto (Tennille Read), Imelda Marcos (Nina Lee Aquino) and a young go-getter intern named Kim Campbell (Trenna Keating). When their gathering is interrupted by a mysterious woman named Malala (Ellora Patnaik), they find themselves trapped in a quantum bubble. The new arrival claims to be from 2030, and she has some information and instructions for them to get back to their time and space—and save the world!

Outstanding work from the cast, serving up sharp and darkly funny renderings of these women. Hennessy is hilariously imperious as Thatcher; condescending and imperialist to the core, the Iron Lady has a soft spot for “boyfriend” Ronny Reagan. Read does a lovely job with the ambitious young Bhutto; vain and privileged, she’s a favourite of Thatcher, who’s taken the young leader in waiting under her wing to be her mentor. Aquino gives an LOL turn as Marcos; cluelessly decadent, fancying herself a modern-day Marie Antoinette and crazy like a fox, she’s the penultimate 80s material girl.

Keating is adorkably mousy as the anxious young intern Campbell; super apologetic and deferring to Thatcher in all things, she shows her teeth when she comes to realize that Malala has something important to say. Patnaik gives us a sassy and determined grown-up Malala; brutally honest and ballsy, she stands her ground with this group of impressive, powerful women to fulfill her mission. And she has some startling and unusual ideas to save the future.

Featuring intrigue, espionage, top secret machinations and some wacky new physics, The Death of Mrs. Gandhi lampoons sexism, racism, imperialism and political propaganda.

Past and future collide with biting political satire in the hilariously trippy The Death of Mrs. Gandhi and the Beginning of New Physics (a political fantasy).

The Death of Mrs. Gandhi and the Beginning of New Physics (a political fantasy) continues in the Factory Theatre Mainspace until Jan 15. Get your advance tix and passes online; and check out the full NSTF schedule.

Photo: Tennille Read and Elley-Ray Hennessy – by Cylla von Tiedemann

Sacred, profane & magical – blood variations & intimate, powerful storytelling in BloodClaat

bloodclaatfotor2
d’bi.young anitafrika as Mudgu in BloodClaat – photos by Dee Kofri

In celebration of the 10th anniversary of BloodClaat: The Sankofa Trilogy Part 1, The Watah Theatre is remounting d’bi.young anitafrika’s award-winning Sankofa Trilogy, starting with a run of BloodClaat to open its 2016-17 Blk Bx Season [calendar link] at its home in Toronto’s Distillery District at 9 Trinity Street, Studio 317.

The Sankofa Trilogy takes us on the journey of three generations of remarkable Jamaican womxn,* starting with Mudgu Sankofa in BloodClaat, collectively directed, with the guidance and support of spiritual mentor Raven Dauda. A solo show inspired by anitafrika’s lived experience as an incest survivor, BloodClaat is part autobiography, part mythology as we follow 15-year-old Mudgu’s coming of age.

Mudgu lives with her grandmother while her mother prepares a new life for them in Canada. An active, precocious young woman who talks a mile a minute, she excels at net ball and adores her boyfriend Johnny. Navigating her grandmother’s strict house rules, her school and personal life, and a rough neighbourhood known for violence, she is also coming to terms with being a woman – and that means dealing with her monthly menstrual cycle and the power to create life (which her grandmother forbids her to do). Her world changes forever when she goes to live with her aunt and uncle for a while, and an act of violence in her grandmother’s neighbourhood ends in death.

Woven into Mudgu’s story are mythological tales and parables of strength and ritual; in particular, one of a warrior princess who gives a rallying cry to her people to rise up for freedom from their white plantation masters.

The theme of blood is the common thread: a womxn’s monthly blood, with the power of giving life and even healing; blood that’s shed in violence and in sacrifice; and the blood of goddess and ritual. And we see different perspectives and points of view on menstrual blood: shame, derision, celebration, creation and powerful magical properties.

bloodclaat-fotor-8
d’bi.young anitafrika in BloodClaat

Anitafrika is a profoundly compelling and engaging storyteller; and the staging in The Watah Theatre’s studio space makes for an extremely intimate, immersive experience. Throughout the story, the audience becomes Mudgu’s neighbours, her fellow bus passengers and the warrior princess’s people.

Told with humour, candor and emotional punch – incorporating voice, movement and posture, with very little in the way of costume changes – BloodClaat features sharply defined characters, exquisitely drawn by anitafrika. From the delightfully energetic and innocent Mudgu, to her sharp-tonged, strict grandmother and kind, gentle mother; her smooth talking boyfriend with swagger Johnny; her distracted, pious church lady aunt and deep-voiced, possessive uncle; the stuttering bus driver; and the fierce and inspiring warrior princess. We are rapt as we find ourselves alternating between being a fly on the wall and part of Mudgu’s story.

As is anitafrika’s custom, each performance is followed by a moment to catch your breath, and an opportunity to share comments and ask questions. When asked about BloodClaat and The Sankofa Trilogy, anitafrika described the generational through line and how she wanted to remount the work in a more intimate setting. As The Watah’s 2016-17 season experiments with a black box theatre experience, what happens when there is minimal production in a room filled with energy? Is it possible to move through a (r)evolution without resources? Confronted with limited funding and support, the stories still need to be told. Story moves us to change regardless. The houses have been small, but the impact has been huge; up close and personal, something magical happens in that space. And perhaps it is only in such an intimate space that storytelling medicine and healing – and profound, surprising growth – can happen.

An interesting divergence from the original production, noted by one audience member in her comment, was that there’s now a scene of Mudgu washing herself, her bed sheets and nightie. Bypassed for 10 years, anitafrika realized she’d been avoiding this reality of the story. Mudgu wakes up with menstrual leakage and needs to clean up. Of course she does! And in these moments, Mudgu must hold herself – and it’s become one of anitafrika’s favourite scenes.

Asked a more general question about what she says “No” to, anitafrika is mindful of corporate sponsorship. It’s important to know where your funding is coming from and who you’re potentially partnering with. Despite its seeming naiveté, anitafrika believes there must be a way to live your ethics and values – and that may mean revising your definition of success. It’s not about becoming rich and famous; it’s about living with purpose in service of your community. And while it’s not a new idea, “meaning leads to joy.”

With shouts to the creative team for their beautiful work on this production: Rachel Forbes (set and costumes), Andrenne Finnikin (ass’t set design) and Brett Haynes (lighting/producer).

Sacred, profane and magical. Blood variations and intimate, powerful storytelling in BloodClaat: The Sankofa Trilogy Part 1.

BloodClaat continues at The Watah Theatre’s space (9 Trinity Street, Studio 317) till Nov 20; it’s an intimate space and a truly compelling show, and you can get your tix in advance. Please note the 7:00 p.m. start time for evening performances.

The Sankofa Trilogy continues with Parts 2 and 3, with stories of Mudgu’s daughter Sekesu and granddaughter Benu in Benu (Feb 15-Mar 5, 2017) and Word! Sound! Powah! (April 5-28, 2017); this in addition to other productions scheduled for the 2016-17 season. All shows will be performed at The Watah Theatre’s home.

You can keep up with The Watah Theatre on Twitter and Facebook.

Please consider supporting this unique and important theatre company by donating to The Watah Theatre’s Go Fund Me campaign.

* This spelling of “woman” is the preference of the playwright.