For obvious reasons, I haven’t checked out other reviewers’/blogger folks’ lists—so I don’t know what they’ve been saying—but is it just me or was this year’s top 10 list an especially challenging task? Seems to me that we had an extra large embarrassment of riches with this year’s theatre productions, so I’m cheating with a larger than usual honourable mention list this year.*
Top ten theatre productions for 2018 (in alphabetical order):
*Including shows I covered in life with more cowbell this year. As I was employed by Nightwood Theatre, either on staff or freelance, I have not reviewed their shows this year.
Alumnae Theatre opened its annual FireWorks Festival of new works with a tale of unlikely partners and a plot for revenge against a common enemy in Chloë Whitehorn’s darkly funny, chilling The Pigeon—directed by Victoria Shepherd and assistant director Nicole Entin, and running in Alumnae’s Studio theatre.
Jegger (John Shubat), a tough-looking young man in black, and Malone (Liz Best), a prim, sharply dressed woman old enough to be his mother, have little in common—other than a common enemy and a decision to join forces to exact revenge, that is. Every day, they meet for lunch on a park bench to hatch their plan.
On the other side of Jegger’s life is his pregnant girlfriend Amy (Marina Gomes); and while Malone schools him on the fine art of vengeance, Amy has taken up educating him about babies. Excited and anxious about the prospect of being a father, Jegger starts to have second thoughts about the revenge plan. Malone has a back-up plan and he will be the messenger—and their relationship will never be the same.
Stellar, compelling performances from the cast in a series of two-hander scenes that play back and forth across the stage, from the park bench to Jegger and Amy’s apartment. Shubat and Best have a tight, razor-sharp rapport as Jegger and Malone; Shubat’s digital-age, sullen, socially aware Jegger and Best’s old-school, acerbic, “culturally insensitive” (i.e., racist) Malone are perfect foils and fine complements. These two characters met only recently and have relatively nothing in common other than a flair for detailed observation and mercurial wit—and an appetite for revenge, coincidentally for the same individual. Gomes’s bubbly, positive and protective Amy is the lighter side of Jegger’s relationships here, providing a sharp contrast to the tone of his relationship with Malone. Amy acts as Jegger’s conscience; and is instrumental in his decision to back out of the revenge plot as she seeks to intervene for the good of their future as a young family.
Over the course of 65 minutes, it’s a slow burn; the bubbles playfully popping to the surface until they reach a boiling point. It’s interesting to see the different aspects of Jegger’s personality that emerge with the two women. A stand-up guy in any case, he takes on a darker, more malevolent vibe with the bitter Malone, who brings out his rage; and a lighter and optimistic jam with the sweet Amy, who provides a safe place for him to unpack his hurt and vulnerability. It clearly troubles him when the dark seeps into the light—and while Jegger is happy to stay on board Malone’s scheme as a messenger, he has no idea what the message will be.
Last night’s post-show talkback featured sound designer/composer John Stuart Campbell, a long-time friend and colleague of Shepherd’s, who spoke about the process of incorporating music into a play. Campbell described music as “a howl at the moon” and an “emotional shorthand,” wherein the sound design/composition is informed by the text, and mindful in its respect for the actors and overall production design. Choosing from a tool box that includes picking an instrument for each character, everyday ambient sound recordings, writing themes for characters or incorporating popular music—with arrangements tailored to the production—Campbell creates a soundtrack that supports and highlights the action. In the case of The Pigeon, he decided to largely forego scene change music, given the flow of the play and split scene staging. He did, however, use an eerie version of On the Street Where You Live (vocals by Vivien Shepherd) to open the play, with Every Breath You Take (The Police) in the pre-show; spooky and sweet, and both underscoring the creepy, stalker vibe of the revenge plot.
The Pigeon continues in the Alumnae Theatre Studio until November 11. Get advance tickets online, by calling the box office: 416-364-4170, ext. 1 or in-person at the door (cash only); box office opens one hour before curtain time. All FireWorks performances run Wednesday – Saturday at 8 pm, with matinees on Saturday and Sunday at 2:00 pm.
The three-week long FireWorks Festival continues to November 25, with two more productions (one each week): Elmar Maripuu’s Moving On (Nov 14-18) and Romeo Ciolfi’s Animal (Nov 21-25).
Sascha Cole. Set & lighting design by Joe Pagnan. Projection design by Cameron Davis. Costume design by Michelle Bohn. Photo by Cylla von Teidemann.
Under what circumstances should freedom of expression be censored or policed? At what point does politics, however liberal or progressive, become unforgiving and oppressive? Tarragon Theatre’s production of Norman Yeung’s Theory, directed by Esther Jun, assisted by Stephanie Williams, examines the impact of film and social media on modern-day discourse through an intersectional lens, where academia meets art—with chilling and provocative results.
I saw the genesis of Theory, first as a reading at Alumnae Theatre’s New Ideas Festival and then as a full production at SummerWorks, back in 2010. It appeared again at Alumnae during FireWorks Festival 2013—at which point, at the suggestion of dramaturge Shirley Barrie, lead character Isabelle’s boyfriend was re-written as a female character. I missed the 2013 production, but was happy to see the evolution of the piece in the current Tarragon presentation, where Isabelle has a wife who is also a person of colour.
Rookie film studies prof Isabelle (Sascha Cole, in the role from the very beginning) has set up an online message board off the campus server—a bit of a rogue move that becomes even more so with an ‘anything goes’ policy. Her film theory students will self-moderate and there are no plans for censorship. And, in a classic Dead Poets Society moment, she has her students tear out the film screening list from the syllabus—full of white male directors—and replaces it with a more diverse, contemporary list. Even her core group of vocal, engaged students—Davinder (Bilal Baig), Safina (Asha James), Richard (Kyle Orzech) and Jorge (Anthony Perpuse)—have questions and misgivings about the nature of the message board and revised film list, which includes the controversial Baise Moi, translated into Rape Me in an English release.
Isabelle’s wife Lee (Audrey Dwyer)—a Black, tenured prof at the same university—also has reservations about the student message board; and like her, one can’t help but wonder if Isabelle is trying too hard to look cool and connect with her students as adults and academics. Racist and homophobic remarks begin to emerge on the message board—presented onstage via projection (design by Cameron Davis)—some of which are directed at other students. And, while Isabelle insists that nothing offends her and refuses to censor the board—viewing the remarks in the context of fodder for adult, academic conversation and exploration—some of her students don’t see it that way.
Video messages start appearing, at first referencing films the class is studying, then getting increasingly graphic and violent, and directed toward Isabelle. Becoming obsessed with finding out who the perpetrator is, the strain on Isabelle and her relationship with Lee starts to show; she keeps putting off their plans to have a baby and starts spending an inordinate amount of time on the message board.
As the messages get more personal and close to home, showing up in her personal email, text messages and even on her doorstep, Isabelle blocks a user called @Richard69 and turns to department head Owen (Fabrizio Filippo) to see if she can launch a complaint or investigation to learn the identity of the student. It’s during this meeting that she learns there’s been a complaint launched against her. Isabelle begins to suspect the culprit is among her core group of students, but has no solid proof.
Sascha Cole & Audrey Dwyer. Set & lighting design by Joe Pagnan. Projection design by Cameron Davis. Costume design by Michelle Bohn. Photo by Cylla von Teidemann.
Outstanding work from the cast in this chilling multi-media psychological thriller. There’s a taut scholarly edge in Cole’s performance of Isabelle; and an awkwardness in Isabelle’s attempts to connect with her students on a laid back, personal level. Under pressure to make tenure, Isabelle must walk the line between provoking thought and keeping her students and superiors happy. Dwyer’s good-humoured academic veteran Lee goes beyond being a great foil and complement to Cole’s Isabelle—she’s the sociopolitical conscience in the relationship and in the piece. A supportive and nurturing partner, Lee has no trouble calling Isabelle out when she’s neglecting their relationship or forgetting to check her privilege. Filippo gives a great turn as the cool guy department head Owen; like Isabelle, he’s invested in keeping everyone happy—but his flip, hip dude exterior belies the institutional administrator who must also answer to higher powers in the university.
Really nice, sharply drawn work from the student chorus. Baig’s sassy, queer South Asian Davinder and James’ earnest, politically aware Safina (Asha James), who is Black, are particularly aware of and sensitive to the homophobic and racist remarks posted online; and Safina is uncomfortable with some of the course content. Both are open and willing to expand their minds and engage in debate; but they understandably draw the line at hate messaging. Perpuse brings a fun class clown energy to Jorge, who posits that porn should be given equal consideration with other genres. And Orzech’s nerdy, curious Richard seems affable enough, but there’s a dark undercurrent to this curious, white kid as he pleads “context” to his observations on films featuring storytelling filtered through a racist lens.
Bilal Baig, Anthony Perpuse, Asha James, Kyle Orzech & Sascha Cole. Set & lighting design by Joe Pagnan. Projection design by Cameron Davis. Costume design by Michelle Bohn. Photo by Cylla von Teidemann.
Isabelle realizes that she’s underestimated the power of a digital media and the accompanying anonymity of user names, which make for an easy, consequence-free platform for hate speech and intolerance; and she’s forced to examine her inconsistent handling of conversation that veers toward hate speech. Her progressive feminist liberal politics and attempts at provoking thought have pushed buttons and opened a Pandora’s box of alt-right ill will. Is she complicit in fostering oppression by holding back on deleting racist and homophobic comments? Timely in its recognition of alt-right backlash, Theory reminds us of the inevitable pendulum backswing on progressive sociopolitical change.
Theory continues in the Tarragon Extraspace until November 25. Get advance tickets online or by calling the box office at 416-531-1827.
Montreal-born Dawna J. Wightman is an award-winning Toronto-based actor, playwright and writer. Toronto audiences will recognize Wightman from her solo show Life as a Pomegranate, as well as Yellow Birds (Alumnae Theatre’s FireWorks Festival, 2015) and A Mickey Full of Mouse (Buddies in Bad Times Theatre, 2016 and Toronto Fringe, 2017). She’s currently working on adapting her unpublished dark fantasy novel A Yarn of Bone & Paper, based on her ebook: Faeries Real & Imagined: How to Create Magical Adventures for Very Young Children, into a feature film. She’s also working with director Theresa Kowall-Shipp on her short Kid Gloves, set to shoot November 2018.
As part of the funding process for Kid Gloves, Wightman self-published and sold honey be, “a collection of sweet words and some that sting,” including hand-painted covers and “surprises” stuffed inside. The first 50-volume print run sold out in about a week; and a second run will be available this month, featuring cover art design by Wightman’s daughter Sabine Spare.
Much like Wightman’s theatre work, the stories, poems and snippets in honey be range from playfully whimsical to profoundly poignant to sharply candid—often all in the same story and sometimes autobiographical in nature. While there are no titles, each piece bears an italicized post-script at the end; in some cases, these take on a conversational and even self-deprecating tone, making for a personal, intimate read.
The themes of family, motherhood and friendship come up in several pieces. There’s the story about Mrs. Kay, written from the perspective of a precocious, neglected eight-year-old who finds a home with fellow misfit schoolmate Sandra Kay and her quirky family; and the goofy four-legged family member Bella in just a dog. Reminders that family can sometimes be found in unexpected places—and to never judge a book by its cover.
There’s heart-wrenching nostalgia with an ode to her son in little boy; and remembrances of wearing an itchy baby blue Phentex dress and being her mother’s go-fer at the bingo hall, in pretty little head. And the heartache and fumbling for what to say to a friend living with cancer tumble out in the visceral when we found out you had cancer and in the outpouring of loving, supportive words in the piece that follows.
Ruminations on body image and aging come up as well, from the erotic in late summer, to the sharply candid and calling bullshit on the ridiculous expectations placed on women’s bodies—professionally and personally—in tits and ass and #chubbyprettywoman, and the #MeToo shock of new neighbour.
Quirky, bittersweet, child-like grown-up, all of the stories in honey be are tinged with humour and poignancy, and the everyday acknowledgement of life’s remarkable moments. And one gets the sense that, beyond coming from a place of truth telling—there’s a deep longing to share these words. There’s a line in the movie Shadowlands, from a C.S. Lewis quote: “We read to know we are not alone”—one could easily also say “We write to let others know they are not alone.”
Copies of honey be will be available for $20.00 via emailing wightrabiit@gmail.com; website coming soon. Wightman will be performing a reading from the book at Stratford’s SpringWorks Festival on October 11.
Helly Chester as Dr. Vera Peters in Radical – photo by Bruce Peters
The final production of Alumnae Theatre’s annual FireWorks program opened last night: Charles Hayter’s Radical, directed by Neil Affleck, with associate director Ingryd Pleitez.
Based on the true story of Canadian oncologist Dr. Vera Peters’ (Helly Chester) fight for a less aggressive procedure than radical mastectomy to treat stage one breast cancer tumors, Radical takes us along with Peters as she navigates the old boys’ club that is medicine – represented by the character Dr. Bernie Fowler (Rob Candy) – and an 80-year-old ‘gold standard’ treatment that has never been questioned. That is, until she meets Professor Rose Levine (Kelly-Marie Murtha), who has a two-centimeter tumor – and wants to know why they just can’t remove the tumor and leave the rest of her breast alone. With the help of new young, forward-thinking surgeon Frank (Feerass Ellid), and despite the grave misgivings of her nurse Helen (Anne Shepherd), Peters launches a retrospective case study, diving into thousands of hospital patient records in an effort to prove that the lumpectomy is just as effective as the radical at treating cancer – and certainly less fraught with negative, life-changing side effects.
The expanded script (from a 50-minute running time in Fringe to about 2 hours, including a 15-minute intermission, in the current production) makes for a more thoughtful pace and a more gradual arc as Peters goes from being an unquestioning supporter of the status quo to a tireless fighter for change. Chester does a nice job with Peters’ journey from accepting to questioning to searching to fighting. An attentive physician who is sympathetic to patient concerns about the radical’s degree of invasiveness, her kind bedside manner tends towards sugar-coating the possible negative outcomes. But, gradually, her intensifying anger against a procedure that puts tradition and expediency – and even financial gain – over the wishes and best interests of the patient spurs her to action. A reluctant – and ultimately courageous – hero, medical choices become personal when she’s faced with her own breast cancer diagnosis. Murtha’s Rose is the perfect catalyst for Peters’ change of heart. An outspoken feminist, irreverently funny and always asking how things could be better, she refuses to take her post-operation side effects lying down and inspires Peters to be the fighter that breast cancer patients need.
Anne Shepherd, Helly Chester & Kelly-Marie Murtha in Radical – photo by Bruce Peters
Candy’s Dr. Fowler is a great foil for Peters, a long-time colleague and friend turned frenemy on the other side of this battle. A chauvinistic, arrogant surgeon who’s happy to have Peters working oncology and schlepping through statistics for a case study he wants to co-author with her, he’ll brook no suggestion as to how the surgery could be improved. And this despite the fact that he has direct knowledge of the emotional and physical aftermath of the radical after assisting with the procedure on his wife. Shepherd is bang-on as the tough, clockwork proficient, old-school nurse Helen; fiercely protective and supportive of Peters in most things, she takes the fatalist view – believing that change isn’t possible, so why even try. Enter Ellid’s wide-eyed, idealistic and driven young Frank, who has an eye on distinguishing himself as a surgeon and on the future of his profession. Refusing to be indoctrinated into old boys’ medicine, he questions and seeks a better way – and, like Peters, is willing to risk his job to get the lumpectomy recognized as a viable alternative to the radical.
In the end, Radical is as much about the guiding principle Primum Non Nocere (First, Do No Harm) as it is about the pioneering of the lumpectomy as a standard alternative to radical mastectomy. It brings forward important questions of patient consultation and the impact of surgery on quality of life. It asks what good is there in saving a patient’s life when they are left physically and mentally broken – with no guarantees that the cancer won’t come back anyway.
Lumpectomy champion Dr. Vera Peters puts ‘Do No Harm’ to the test in the eye-opening, dramatic and sharply funny Radical.
Radical continues at Alumnae Theatre’s FireWorks until November 22; you can purchase tickets online or an hour before show time at the box office (cash only).
You can follow the goings on at Alumnae Theatre on Twitter and Facebook. In the meantime, take a look at trailer for Radical:
Fleur Jacobs & Hugh Ritchie in Divine Wrecks – photo by Bruce Peters
A high school hockey god falls in love with the wrong girl: his teacher, who falls right back at him. And there’s nothing more heartbreaking than a wrong love that feels so right.
Alumnae Theatre opened its third annual FireWorks series to a packed house in the Studio last night, the three-show program launching with Chloë Whitehorn’s Divine Wrecks, directed by Pamela Redfern, assisted by Melissa Chetty.
Divine Wrecks is a contemporary take on a classic story of forbidden love. Eddy (Hugh Ritchie) is the new kid at school, his arrival deliciously anticipated by his classmates (who also serve as the play’s Chorus: Annelise Hawrylak, Megan O’Kelly, Michael Pearson and Luis Guillermo Villar), who view him as a mysterious stranger with a tragic past (he was involved in a car accident and the other driver, who was the one at fault, was killed). Enter their English teacher Cass (Fleur Jacobs) and Eddy, a star athlete with a reputation for being a player, is undone. And despite his gruff, macho exterior and challenges with expressing his feelings – and perhaps because of it – Eddy and Cass find a deep emotional connection that blossoms into a secret affair. And, of course, it’s all going to end in tears.
Ritchie and Jacobs have remarkable chemistry as the secret lovers. Ritchie’s Eddy is a bit of a Renaissance man, wise beyond his years – perhaps largely due to his recent personal tragedy – a popular student and skilled hockey player, well-read and articulate, and apparently an adept lover. Eddy is an old romantic soul despite his jockish, pretty boy bravado – and Ritchie does a nice job with revealing the layers of struggle, frustration, longing and despair. Jacobs is lovely as Cass, smart, good-natured and funny – an engaging teacher who is both genuine with and protective of her students, which makes her emerging feelings for Eddy all the more agonizing for her. Cass really wants to do the right thing, keep her job and maintain her integrity, but finds herself unable to resist the draw to Eddy – and Jacobs does an excellent job with Cass’s inner conflict as the undeniable attraction between Cass and Eddy breaks through any sense of decorum, morality or rules to the tender, fragile place that lies beneath.
The Chorus: Megan O’Kelly, Luis Guillermo Villar, Annelise Hawrylak & Michael Pearson in Divine Wrecks – photo by Bruce Peters
The Chorus is marvelous. Far from being bit players, these four (they are numbered rather than named) are contemporary archetypes and the modern-day embodiment of the classical Chorus, ever watchful and always commenting. One, the Jock (Pearson): tall, muscular, jersey-wearing, wise-cracking hockey player. Two, the Cheerleader (Hawrylak): bubbly and extroverted, entitled, superficial and a bit dim. Three, the Rebel (O’Kelly): punk-styled, free-spirited loner with a fuck-you attitude who’s smarter than you think, mostly because she plays it close to the chest. Four, the Nerd (Villar): socially awkward, nervous, flood-panted and bespectacled, whip smart and asthmatic. They add some much needed comic relief to this unfolding tragedy, and pose important questions and thoughts. They could see it coming – and someone should do something. But what could they do? Shifting between titillating gossip and moments of moral and ethical commentary, they are us. They say what the audience is thinking – and they even sometimes speak directly to us.
The 1950s-inspired staging (the doo-wop soundtrack and a cappella Chorus bits) and design (shouts to Peter DeFreitas for the fabulous 50s-inspired costumes) add an extra layer of romance, even innocence, and vintage style to the production.
Divine Wrecks is a heartbreaking and powerful tale of forbidden love – erotic, wickedly funny and engaging.
The first of three shows featured in the 2015 FireWorks program, Divine Wrecks runs until Nov 8 in the Alumnae Theatre Studio; you can purchase tix in advance online or one hour before performance time at the box office (cash only). The Studio is an intimate space, so advance booking is strongly recommended for all FireWorks shows.
The FireWorks program also features a series of ‘Behind the Curtain’ post-show talk-backs after every performance – except for opening nights, when the audience is invited to join the cast and crew for a reception in the Alumnae Theatre lobby. Coming up next in the FireWorks program: Cottage Radio, by Taylor Marie Graham (Nov 11-15) and Radical, by Charles Hayter (Nov 18-22).
You can keep up with the goings on at Alumnae via Facebook and Twitter.
Got out to Alumnae Theatre last night to see Joan Burrow’s play Gloria’s Guy, one of the three plays running in rep as part of the FireWorks program up in the studio space.
Directed by Anne Harper, Gloria’s Guy is a sweet romcom reunion of high school friends Peggy (Jennifer Monteith), Gloria (Anna Douglas), Eva (Erin Jones) and Leslie (Sangeeta Wylie), with the unexpected addition of Peggy’s mom Jessie – their former high school teacher – aka “Mrs. Mac” (Liz Best) and the surprise appearance of Gloria’s high school sweetheart Guy (Robert Meynell), who was a no-show on prom night.
It’s October in cottage country, where Guy has returned home after practising law in Los Angeles to work with his brother Jim at the family hotel/cabin, and the gals have come up for a wedding. Old wounds are opened up, secrets are revealed and the gang learns that you can never really go back again – only forward. Nice work from this ensemble cast. Best is hysterical as the nosy and meddling, but well-meaning, den mother of the gang; Douglas gives Gloria a lovely combination of vulnerable and pissed off; and Jones is outrageously funny as “Eva the Diva,” the wild girl of the group who has a secret of her own. Douglas and Meynell have good chemistry, rounding out the mixed feelings of former high school romance, painful moments and the awkward, but curiosity-filled, surprise reunion between Gloria and Guy.
Funny and warm, with its messy family and friends dynamics, Gloria’s Guy is a feel-good, tender romcom good time.
Gloria’s Guy has one more performance: Sat, Nov 30 at 2:30 p.m. Shirley Barrie’s Measure of the World has two more performances: tonight (Thurs, Nov 28) at 8:00 p.m. and Sat, Nov 30 at 8:00 p.m. Norman Yeung’s Theory plays on Fri, Nov 29 at 8:00 p.m. and Sun, Dec 1 at 2:30 p.m., with a noon roundtable about the play before the Sunday performance. All happening upstairs in the Alumnae Theatre Studio.
That’s it for me for FireWorks – I won’t be able to make it out to see Theory (by Norman Yeung, directed by Joanne Williams), but you can check out the post I wrote for Alumnae Theatre’s blog on the SummerWorks 2010 production. I hear the script has been tweaked somewhat, with the lead character now having a girlfriend instead of a boyfriend.
