Real-life ghost stories come out of the dark in the compelling, entertaining, thoughtful The Ghost Project

Karie Richards. Photo by Tanja-Tiziana.

 

Playwright/performer/producer Karie Richards opened the Toronto premiere of her documentary solo show The Ghost Project to a sold-out house in the BMO Incubator at The Theatre Centre last night. Originally directed by Jeff Culbert, The Ghost Project was a hit at the Fringe circuit, premiering at the Halifax Fringe 2018, and went on to the London Fringe and Winnipeg Fringe in 2019. Distilling 13 stories from 28 interviews with friends and family, Richards weaves a series of monologues, all told in the first person, from the storyteller’s point of view—capturing the gamut of emotional and rational responses; and exploring the thoughts, feelings and questions about what happens to us after we die. The result is a compelling, entertaining and thoughtful piece of verbatim storytelling.

Do you believe in ghosts? Have you ever encountered one? While Karie Richards isn’t sure what she thinks, she believes the stories told to her by friends and family—personal experiences with spiritual manifestations that defy explanation and everyday frame of reference; and that ultimately make us question the nature of the afterlife. Each real-life character reveals their story, be it from their university days, childhood or adulthood, or even an experience their child had while they were present. People reacting and responding in the moment; and, in some cases, wondering aloud what it all means. Are these the actual souls or spirits of the departed, or the energy traces they left behind? Or are these encounters a chance look through a thin veil of everyday reality, providing a glimpse of another time or plane of existence while the one experiencing it remains rooted in their own?

Encounters with, and messages from, deceased loved ones; former homeowners looking in on new residents/guests; and unexplained events at a haunted theatre space (Alumnae Theatre folk and fans will be familiar) all come into play—with manifestations ranging from malevolent to friendly, frightening to calming, everyday to ethereal. Experiences of shadowy figures blacker than the darkness, a floating blue girl, a surprising encounter during an Indigenous ceremony, the comfort of a nurturing parental energy, and the high-spirited insistence of a youthful presence that evoked profound responses for the storyteller emerge in Richards’ performance. Navigating myriad emotions, from paralyzing fear, to grief and loss, confusion, relief and joy, each character is vulnerable, curious, wonder-struck and thoughtful. Do these spirits want to be noticed and acknowledged? Are they relieving boredom with their spooky shenanigans? Do they have something to tell us?

Deftly shifting from character to character—signified by the collection and return of a single costume piece or prop from a wardrobe, and remarkable adjustments to voice, facial expression and posture—with a gentle calmness and the care of ceremony, Richards conjures up each storyteller for us, presenting with nuance and profound sensitivity the experiences, reactions and thoughts of each. And her carefully, finely-drawn embodiment of each storyteller makes for a compelling and entertaining performance that goes beyond the storytelling itself. In many cases, it’s the first time the storyteller has revealed their experience to anyone—requiring a high level of trust in, and comfort with, Richards during the interview process that preceded the creation of the piece. The results are eerie, funny, deeply moving and thought-provoking.

Richards’ performance is nicely supported by Glenn Davidson’s minimalist, effective production design, as well as John Sheard’s haunting composition, and atmospheric sound effects supplied by Peter Thillaye and Steve Munro.

Whatever you believe, The Ghost Project engages as much as it challenges the audience to open up and reach out into the unknown—and entertain the suggestion that death is not the end of our journey, but the beginning of a new one. If you have the opportunity, stick around for the post-show talkback, where audience members are invited to ask questions and share their own ghost stories.

The Ghost Project continues in the Incubator space at the Theatre Centre until January 26, with evening performances at 7:00 p.m., and matinées on Saturday and Sunday at 2:00 p.m. Tickets are available online, in person at the box office, or by calling 416-538-0988. It’s a very short run and seating is limited, so advance booking or early arrival is strongly recommended; please note the 7:00 p.m. curtain time for evening performances.

 

 

NSTF: Love, grief & celebrating life in the deeply moving, resonant musical Every Silver Lining

Allison Wither & Laura Piccinin. Photo by Tanja-Tiziana.

 

Silver Lining Productions brings its Toronto Fringe 2019 breakout musical theatre hit Every Silver Lining to the Factory Theatre Mainspace for the Next Stage Theatre Festival. Written by Laura Piccinin and Allison Wither, and directed by Jennifer Stewart, with music direction by Aaron Eyre, Every Silver Lining takes us on a journey of love, friendship, grief and a celebration of life as a family and a group of high school students navigate the loss of a son, brother and friend to cancer. The songs are both profoundly insightful, revealing and catchy—resonating deep in the heart—performed with impressive vocal chops and great sensitivity.

Seventeen-year-old Andrew (Daniel Karp) has leukemia and is looking forward to his last round of chemo. Hiding his illness from even his closest friends, he just wants to get back to school, hang out with his friends and live as normal a life as possible. He and his teen sister Clara (Allison Wither) are good buds, but since his diagnosis, she’s been feeling invisible at home, drowning in the extreme life-changing routine and tension-filled atmosphere; and even having to put some of her own life on hold while she drives Andrew to appointments and keeps him company during chemo sessions. Their mother Judy (Alison J Palmer) is fearful and hovering, and getting on Andrew’s nerves; and dad Kevin (Luke Marty) is caught in the middle, acting as peacemaker between his wife and son while the family lives with the stress and uncertainty of Andrew’s prognosis.

At school, Clara’s BFF Emily (Laura Piccinin) gently prods and advises her on how to get to know the cute new guy Ben (Alex Furber). Clara’s not sure she’s up for it, but finds herself drawn to Ben; and Andrew is happy to be back with his gamer friends Jeremy (Joel Cumber), Bev (Jada Rifkin) and Sam (Ben Skipper). This period of apparent normalcy is short-lived as Andrew comes down with a critical infection, and his chances for further treatment are gone.

Andrew’s friends are stunned to learn of his death—especially as they hadn’t known he was ill—and find themselves facing the death of a loved one their own age for the first time. They’re well-supported by their arts and science teacher Ms. Vella (Starr Domingue), who gives them space to share their thoughts and feelings. Dealing with so many feelings—about Andrew, dealing with school work and tests, blossoming feelings of attraction—and experiencing the various stages of grief is painful and confusing. But, ultimately, the friends pull together to support each other, remember Andrew and celebrate his life.

Delivered with heart and impressive vocal chops—and nicely supported by musicians Aaron Eyre (piano), Erika Nielsen (cello) and Alex Panneton (percussion)—the cast takes us from laughter to tears; performing beautifully composed songs featuring moving and catchy melodies, resonant counter melodies, and soaring harmonies. Karp gives the outgoing Daniel a combination of brave face and resilient resistance; struggling, even fighting, for normalcy when his life has been turned upside down in the face of an unknown outcome. Wither’s performance as the introverted, irreverent Clara is a nuanced portrait of a teen working through complex, challenging times; the sometimes tough, give no fucks exterior belies her inner conflict and fear of losing her brother. She loves her brother, but she hates what the disease is doing to him and their family; and feels guilty for doing so. Palmer and Marty’s grounded, present performances as parents Judy and Kevin run the gamut from hope to despair; Palmer’s loving helicopter mom and Marty’s supportive middleman dad are doing the best they can while facing the unthinkable loss of a child.

Furber gives an adorkably lovable performance as the cute, somewhat nerdy Ben; there are some lovely moments with Wither as Ben and Clara get to know each other and explore their growing attraction. Piccinin and Cumber add some great, and much needed, comic relief as the effervescent extrovert Emily and the goofy, fun-loving Jeremy. Piccinin gives Emily a warm, protective, enveloping hug vibe, while Cumber’s Jeremy is more sensitive than at first glance, using gentle humour to support his friends through their grief. Rifkin gives a poignant performance as the socially awkward Bev; and Skipper does a nice job revealing Sam’s anger about Andrew’s death, and toward Andrew himself, as Sam deals with his grief. Domingue is lovely, engaging and supportive as Ms. Vella; and makes for an understanding, approachable oncologist.

Profoundly poignant and inspiring—and full of spirit, hope and love—in the end, Every Silver Lining is about recognizing and being open to the love and support of family and friends during times of fear, loss and grief; and sharing, remembering and celebrating the life of the departed loved one as part of the acknowledgment of, and working through, the stages of the mourning process.

Every Silver Lining continues in the Factory Theatre Mainspace until January 19; check the show page for exact dates, times and advance ticket purchase.

Shades of gray in the intimate, entertaining, deeply poignant Between Riverside and Crazy

Allegra Fulton & Alexander Thomas. Set design by Anna Treusch. Costume design by Michelle Bohn. Lighting design by Steve Lucas. Photo by Dahlia Katz.

 

Coal Mine Theatre opened its Toronto premiere of Stephen Adly Guirgis’s Between Riverside and Crazy to a packed house at its home on Toronto’s Danforth Avenue last night. Directed by Kelli Fox, the intimately staged storytelling plays in the gray areas of family and the legal system as a widowed retired NYPD cop holds firm in his bid for justice while being a father figure to a strange and diverse assortment of adults both in his home and on the job. Highlighting issues of politics, government, race and racism, Between Riverside and Crazy reveals, with candor and humour, a world where everyone is hustling and everybody lies.

Riverside&C-photobyDahliaKatz-Jai Jai Jones, Alexander Thomas, Nabil Rajo
Jai Jai Jones, Alexander Thomas & Nabil Rajo. Set design by Anna Treusch. Costume design by Michelle Bohn. Lighting design by Steve Lucas. Photo by Dahlia Katz.

Widowed retired NYPD cop Walter “Pops” Washington (Alexander Thomas) lives in a sweet rent-controlled apartment on New York City’s Riverside Drive, which he’s currently sharing with his son Junior (Jai Jai Jones), recently released from jail; Junior’s girlfriend Lulu (Zarrin Darnell-Martin), a college student studying accounting; Junior’s friend Oswaldo (Nabil Rajo), a recovering addict and ex-con; and a dog (which we never see). He’s also juggling a discrimination suit against the City of New York after being shot six times by a white rookie, who also called him the n-word, during a raid on an after-hours bar back when he was still on the job; a lot of time and money have been going toward this bid for justice, with no immediate end in sight-and on top of losing his beloved wife Dolores, the entire ordeal has impacted on him both physically and psychologically.

Complicating matters for Walter, a friendly catch-up dinner at his place with his former partner Det. Audrey O’Connor (Claire Armstrong) and her fiancé Lt. Dave Caro (Sergio Di Zio) becomes an intervention of sorts when they try to convince him to drop the lawsuit and take the settlement the City has been offering before the deadline arrives. Cajoling turns to manipulation turns to threat, as Dave’s entreaties take a nasty turn—putting Walter’s home, and Junior’s newly acquired freedom from jail, in jeopardy. In the meantime, Junior is suspected of using the apartment to store stolen goods; Lulu says she’s pregnant; and Oswaldo’s visit to family goes terribly wrong. Then, there’s the impending drop-in from the local Church Lady (Allegra Fulton), who turns out to be a substitute for Walter’s usual church visitor—and even she has an angle to work on him!

Riverside&C-photobyDahliaKatz-Sergio Di Zio, Claire Armstrong, Jai Jai Jones, Alexander Thomas, Zarrin Darnell-Martin
Clockwise from left: Sergio Di Zio, Claire Armstrong, Jai Jai Jones & Alexander Thomas. Set design by Anna Treusch. Costume design by Michelle Bohn. Lighting design by Steve Lucas. Photo by Dahlia Katz.

Stellar work from Thomas as the gruff but loveable Walter; a bear of a man, Walter has a big heart, but finds it difficult to express it. An older and less vital man than he once was, he lashes out by refusing to eat well or take his meds, and self-medicates with alcohol. But despite his stubborn, grouchy demeanour, we come to really care about Walter; during intermission, a woman who sat beside me remarked (as we were so close to the action in the living room) that, at one point, she wanted to reach out to comfort him.

Jones brings an edge of vulnerability to the cool, streetwise Junior; a young man who needs his father’s good opinion as he struggles to be a grown adult and get his life on track. Rajo’s Oswaldo is a struggling lost boy whose knowing swagger belies a fragile soul; and Darnell-Martin’s sweet but dim-witted Lulu isn’t as clueless as she appears. Armstrong’s warm, Tyne Daly-esque O’Connor plays nicely off of Di Zio’s slick, charismatic Caro; while O’Connor’s brand of manipulation is more motherly, Caro employs that reserved for the darker side of politics—shifting from flattering appeals to reason, to mercilessly going for the jugular. And Fulton’s eccentric clairvoyant Church Lady adds some much needed comic relief and magic following some intense moments at the end of the first act.

Nothing is clearly black and white here—all of these moments and relationships play out in the gray areas. Everyone’s on the hustle and everybody lies, so it can be hard to tell who and what to believe. That doesn’t necessarily mean these are bad people; just flawed and desperate, using whatever resources they can—especially manipulation—to get what they want. The big question is: will they do what’s right or what’s easy? Just like real life.

Between Riverside and Crazy continues at Coal Mine Theatre until December 22; advance tickets available online. Please note the 7:30 p.m. curtain time for evening performances; matinées are Sundays at 2:00 p.m.

 

Pride & BLM divide between friends in the provocative, fierce, meta Every Day She Rose

Adrian Shepherd-Gawinski & Monice Peter (as Mark and Cathy-Ann). Set design by Michelle Tracey. Costume design by Ming Wong. Lighting design by Rebecca Picherack. Photo by Cylla von Tiedemann.

 

Nightwood Theatre continues its 40th season with the premiere of Andrea Scott and Nick Green’s Every Day She Rose, co-directed by Andrea Donaldson and Sedina Fiati, and running at Buddies in Bad Times Theatre. Provocative, fierce and sharply funny, divergent responses to the 2016 Black Lives Matter protest during the Toronto Pride parade force two best friends—a straight Black woman and a gay white man—to examine their relationship and allyship. Their exploration of friendship, oppression and allyship gets meta as these characters morph in and out of the two playwrights who are writing their story; struggling and processing not only the structure of the play, but the nature of and relationship between the two characters, who are to some degree based on themselves.

It’s Toronto Pride 2016, and besties/roommates Cathy-Ann (Monice Peter) and Mark (Adrian Shepherd-Gawinski) are getting decked out and ready to hit the parade route. Out at the parade, the celebratory vibe of their annual ritual takes a somber turn when they encounter a Black Lives Matter (BLM) protest blocking the parade route. Back at their downtown condo, Cathy-Ann becomes quiet and pensive, going online to learn about BLM’s demands for a more equitable, inclusive Pride celebration; while Mark shrugs the protest off as a momentarily scary and ultimately poorly timed inconvenience. No longer feeling like celebrating, she opts to absent herself from a night of drinking and dancing; unable to change her mind, he goes off to meet his friends.

That moment of protest at Pride becomes the tipping point of an ongoing series of micro-divisions that have been apparent in their friendship for some time, and these come bubbling to the surface as the debate continues, the heat turned high, when Mark returns. Divergent personal perspectives on the police, Caribana and privilege erupt—not to mention the collision of odd couple-esque personalities—and, more and more, they find that their differences outweigh their similarities.

Woven into Cathy-Ann and Mark’s story is the journey of playwrights Andrea and Nick; and this is where it gets meta, especially since the characters are, to varying degrees, based on the actual playwrights. Debating everything—from structure, to back story, to the inclusion of flashback scenes and fourth wall-breaking monologues—like the characters (Cathy-Ann and Mark) who question their friendship, Andrea and Nick find they must ultimately ask themselves why they’re writing this play.

Every Day She Rose, Nightwood Theatre
Monice Peter & Adrian Shepherd-Gawinski (as Andrea & Nick). Set design by Michelle Tracey. Costume design by Ming Wong. Lighting design by Rebecca Picherack. Photo by Cylla von Tiedemann.

Outstanding work from Peter and Shepherd-Gawinski in this complex, insightful and sharply funny two-hander that takes us to some uncomfortable places in a powerful, candid way. Playing characters that would otherwise be relegated to “sassy friend” supporting roles, the relationships go beyond the stereotypes to get real—becoming a microcosm of awareness, allyship and oppression Olympics, with issues of prejudice, intersectionality and privilege coming to the fore. Peter is a circumspect, grounded, Devil’s advocate delight as the cerebral, deliberate and sharp-witted Cathy-Ann; a scholar and somewhat of an introvert, Cathy-Ann has two degrees and is working temp jobs to pay the bills. Supportive of and engaged with Mark and the queer community, she finds herself having to rethink these relationships when she realizes the extent to which the Black community is excluded from Pride—and saddened to hear the clueless and negative responses from the white male-dominated queer community, including Mark.

Shepherd-Gawinski is a loud and proud treat as the gregarious, visceral Mark; flamboyant and impetuous, Mark is living the gay man’s dream—a great job, a fabulous condo, sex available with a swipe on his phone, and an awesome best friend. But, as much as he loves Cathy-Ann, Mark just can’t seem to get that the Black experience of oppression isn’t the same as his gay experience. His “colour blindness” makes the Black experience invisible to him—not to mention that, even though he’s gay, he’s still a white male, operating from a position of privilege that a Black woman does not. And, much like Cathy-Ann and Mark, Andrea and Nick are operating as opposites: Andrea is interested in a deep dive, less linear look at these characters and their relationship, while Nick is more comfortable with a less complicated, straightforward chronological approach. But, unlike Mark, Nick seems to get it when it comes to divergent experiences of oppression, and how intersectionality compounds the issue—and wonders how Andrea deals with it.

How does she do it? One day at a time—every day, she rises. We all need to check our privilege, and acknowledge the accompanying benefits; and be aware and mindful of the intersectional nature of oppression, and the barriers created therein—and educate ourselves on effective, positive allyship. And, as co-director Fiati pointed out during the opening night pre-show panel, no one wins when competing in the oppression Olympics.

Every Day She Rose continues at Buddies until December 8; advance tickets available online or by calling 416-975-8555. It’s a two-week run, and you don’t want to miss this—so advance booking or early arrival strongly recommended.

For dates/times of special events, talkbacks and a relaxed performance, check the show page. And, after the performance, check out the engagement space behind the playing area.

ICYMI: For more perspective, check out Jordy Kieto’s interview with co-directors Andrea Donaldson and Sedina Fiati in Intermission Magazine.

 

 

 

FireWorks Festival: Navigating the media circus in the face of profound loss in the moving, razor-sharp, thought-provoking Grief Circus

Bronson Lake & Alison Dickson. Set design by Teodoro Dragonieri. Costume design by Paige Foskett. Lighting design by Liam Stewart. Photo by Bruce Peters.

 

Alumnae Theatre opened its second week of the FireWorks Festival last night, with Crystal Wood’s Grief Circus, directed by Paige Foskett. As moving as it is razor-sharp, this timely multimedia piece holds up a mirror to society’s morbid fascination, involvement and sharing in the death of strangers. A family has lost a beloved daughter and sister, an event that becomes fresh meat for the news and social media feeding frenzy. As they navigate the media circus that follows, mother and sister take very different paths to work through their grief.

Leah (Alison Dickson) speaks to us directly, our host and narrator as we witness scenes—sometimes in flashback—around the events of her older sister Jesse’s (Claire MacMaster) disappearance. Jesse’s body was later found in a ravine, and both Leah and her mother Carol (Bernadette Medhurst) find themselves in the spotlight of an often intrusive, uncaring news media—even confronted by a photographer (Jack Everett) on the steps of their small-town church when they attend Jesse’s funeral. In the aftermath, while Leah finds herself slogging through a callous, click bait world of modern news and social media, bombarded with ignorance and cruelty as she struggles to work through grief and loss, she is appalled to find her mother joining in—writing a book about the experience of losing her daughter, and working with PR folks to book interviews.

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Alison Dickson & Claire MacMaster. Set design by Teodoro Dragonieri. Costume design by Paige Foskett. Lighting design by Liam Stewart. Photo by Bruce Peters.

Alternating between past and present, we see a 15-year-old Leah interacting with Jesse, who is her best friend, advisor, confidante and go-to source of info on the state of their parents’ shaky marriage; then a few years later being invited to a party with Jesse and her friends in Toronto, where Jesse disappears after leaving on her own. We see Leah go head to head with Carol over Carol’s making an industry of Jesse’s death; and the battle for Leah’s participation in a television interview, taking place the same day as her first day at university. And Leah has a meet cute with Charlie (Bronson Lake), an awkward but sweet university student; they go on a sort of date, but his motives are called into question when an altered recording of a chat he had with their server (Everett) turns up on the news, showing Leah in the worst possible light as the troubled sister of a famous dead girl.

Lovely work from the cast in this timely, moving and razor-sharp exploration of how news and social media can intrude upon and dishonour the departed, and have a profound impact on their loved ones. Dickson gives a stand-out performance as the whip-smart, introverted, wry-witted Leah; precocious, irreverent and wise beyond her years, Leah can be her own worst enemy as she keeps herself informed about world events—events that spark deep anxiety over the possibility of catastrophe. Conflicted about engaging with the Internet following Jesse’s death, what she finds there only serves to make her journey through grief more difficult.

MacMaster gives an energetic, luminous performance as the bubbly extrovert Jesse; the best big sister Leah could have, she’s super supportive and encouraging—balancing a respect for Leah’s boundaries with gentle pushes outside her comfort zone. Medhurst does a nice job with the conflicted Carol; a mother who’s lost her daughter, she deals with her grief the only way she knows how—honour Jesse’s memory so she won’t be forgotten. Lake gives an adorably awkward performance as the bashful Charlie; somewhat of an introvert himself, Charlie is interested in Leah, but unfortunately not very media-savvy. And Everett offers a great range of news media folk, from the intrusive jerk photographer at the funeral, to serious CTV reporter, to sleazy “journalist”.

Timely, moving and sharply funny, Grief Circus incorporates video and projected social media messaging (video design by director Foskett) to illustrate the scope of the family’s loss of a wonderful, energetic young woman—and the inappropriate, at times heartless, thoughtless and intrusive, response of the public. Strangers turning up at the funeral, or making comments in person or online; and, worst of all, the anonymous social media posters who cast negative, clueless aspersions about Jesse’s character—especially the trolls who say that Jesse had it coming.

Grief Circus continues in the Alumnae Studio Theatre until November 17; get tickets online, by calling 416-364-4170 (ext. 1) or in-person at the box office one hour before curtain time (cash only). There will be a post-show talkback with the director, playwright and cast following the Saturday, November 16 matinée performance.

FireWorks continues its three-week run until November 24, presenting a new show each week. The festival closes with Genevieve Adam’s If the Shoe Fits, directed by Heather Keith (Nov 20-24).

 

Fond & foolish love & sport in Shakespeare BASH’d delightful, cheeky, passionate A Midsummer Night’s Dream

Julia Nish-Lapidus. Photo by Eliza Martin.

 

Shakespeare BASH’d opens its 2019-20 season with its own take on a magical, wacky fun Shakespeare favourite with its production of William Shakespeare’s A Midsummer Night’s Dream, directed by Catherine Rainville and James Wallis, choreographed by John Wamsley, with music composition and direction by Hilary Adams—on for a short run at the Monarch Tavern. As fairies make sport of mortals, so too do royals make fun of commoners in this delightful, cheeky and passionate tale of love, transformation and jumping out of your comfort zone.

Theseus (a proud and regal Nick Nahwegahbow) and Hippolyta (Hilary Adams, in royal Amazon queen warrior form) are preparing for their wedding. A meeting with wedding planner Philostrate (a fastidious and fabulous John Wamsley) are interrupted when noble Egeus (Megan Miles, with intimidating, harsh, unforgiving my-way-or-the-highway parenting) arrives, requesting judgement on her daughter Hermia’s (a feisty and forthright Eliza Martin) disobedience regarding an arranged marriage to popular young noble Demetrius (Mussié Solomon, bringing an edge of slick arrogance to the player vibe). Hermia is in love with Lysander (a somewhat nerdy, but sweet, turn from Justin Mullen); meanwhile, Hermia’s best friend Helena (a vulnerable, yet crafty and resourceful Nyiri Karakas) is in love with Demetrius, who now scorns her. Theseus orders Hermia to obey her mother or else face death or life in a convent. Hermia and Lysander hatch a plan to flee Athens—which Helena divulges to Demetrius in hopes of winning his love—and the four young people end up lost in the woods.

Also in the woods are a group of Athenian tradespeople, gathered to rehearse a play they hope will be chosen as entertainment for the royal wedding. Amiable and organized director Peter Quince (Miles) assigns parts to Bottom (an adorably goofy, child-like turn from Julia Nish-Lapidus, bringing considerable clowning skills into play), Snug (Adams), Snout (Nahwegahbow) and Flute (Wamsley).

Unseen by the mortals in the forest, a battle of wills rages among the fairies, between its King Oberon (Kate McArthur, combining an imperious, passionate presence with a soft, romantic heart) and Queen Titania (a fierce and sensuous performance from Zara Jestadt). He wants the young Indian boy in her care as a page for himself; and she refuses, having adopted the boy when his votary mother died. Coming upon Demetrius repelling Helena’s attentions, Oberon orders Puck (a gently playful Michelle Mohammed) to fetch a magic flower, and use its juice to make Demetrius fall in love with Helena. When Puck mistakes Lysander for Demetrius, both young men now love Hermia—leading to strife and betrayal revealed for the two women, and the possibility of a mortal battle between the men. Oberon has also played with Titania, using the flower to make her fall in love with the next creature she sees—which turns out to be Bottom, who Puck has turned into a donkey! Learning of Puck’s mistake with the young lovers, Oberon orders her to make it right; and having secured the young Indian boy from Titania, releases her from his spell and Bottom from her donkey persona.

Emerging from the woods, the action shifts to the wedding and a play within the play, where the sorted out lovers are given blessings, and the tradesfolk are invited to perform their comical tragedy, to heckles from the nobles—and hilariously over-the-top performances from Bottom as the hero and Flute as the heroine; and shy, bumbling turns from the terrified Snug and slow-witted snout (outstanding comedic chops, with big LOLs from Adams, Nahwegahbow, Nish-Lapidus and Wamsley here).

Featuring minimal, but very effective costuming, props and set, the magic is highlighted by Adams’ otherworldly music composition and brisk, tight staging. It’s always a good time with Shakespeare BASH’d and its ensemble, with text and intention-focused, accessible productions that make for an enjoyable and engaging theatrical experience, as well as fresh and contemporary takes on the Shakespeare cannon. You may have seen this play before, but not like this.

Just as the fairies make sport of mortals, so too do the nobles with the commoners—all in good fun, with the magic creatures making things right, while the nobles appreciate the tradespeople’s’ passion and enthusiasm. The magic happens in the transformations—offering different perspectives that can change points of view, especially when one is thrown out of one’s comfort zone.

A Midsummer Night’s Dream continues at the Monarch Tavern until November 17; please note the 7:00 pm curtain time. Advanced tickets are sold out, but if you come early, the good folks of Shakespeare BASH’d will try to squeeze you in (doors open at 6:30 pm).

ICYMI: Check out Arpital Ghosal’s interview with actor Zara Jestadt on SesayArts.

Up next for the company: A Very Merry Karaoke BASH’d (Friday, December 13 at 8:00 pm) at The Theatre Centre

Cymbeline (February 4-9) at Junction City Music Hall 

And a great chance to support a local theatre company: check out Shakespeare BASH’d’s Indiegogo campaign for the 2019-20 season.

Dancing in the key of life in Kaeja d’Dance’s joyful, moving, dynamic Porch View Dances 2019

PORCH 2: Lifesongs (Her Mixtape’s a Masterpiece), choreographed by Shannon Litzenberger. Kirsten Boer, Marion Oliver, Lori Pacan, Evelyn Sham and Myriam Zitouni. Photo by Cate McKim.

 

Kaeja d’Dance opened its 8th annual Porch View Dances, presented in and around Seaton Village in the Annex neighbourhood of Toronto (starting at 92 London St.) last night. Part walking history tour, part magical outdoor dance performance, part storytelling, the evening’s festivities feature amateur and professional dancers. The audience is shepherded by the affable top hat-wearing host and tour guide, Maurycy, who takes us through the neighbourhood to the various porch and vignette venues—all winding up at Vermont Square Park, where everyone is invited to dance. It is a joyful, moving and dynamic evening of movement and expression.

PORCH 1: Sipikiskisiwin (“Remembering Well”), choreographed by Aria Evans and created with/performed by Jim Adams. For the third year in a row, Jim and Owen Adams, an Indigenous father and son, have embarked on a PVD series of what it means to be an Indigenous family in the city. This year, they will be creating a piece for Jim to perform about dreams, memory and loss.

Incorporating movement and ritual, a moving piece of longing, connection and remembrance.

PORCH 2: Lifesongs (Her Mixtape’s a Masterpiece), choreographed by Shannon Litzenberger; created with/performed by Kirsten Boer, Marion Oliver, Lori Pacan, Evelyn Sham and Myriam Zitouni. A unique group of friends and strangers unite in their shared love of dance, art and community. They are looking forward to strengthening existing friendships and making new ones.

Kindred spirits sharing life, love and music in a celebratory porch party atmosphere.

PORCH 3: Comme un Enfant (“Like a Child”), choreographed by Karen and Allen Kaeja; created with/performed by Ilana and Ahava Bereskin. A mother/daughter duo are looking forward to a magical bonding experience and sharing their dance with the community; while their story is unique, the themes are universal and will resonate with all.

Tender and playful, a mother and daughter delight in each other, dancing, playing and exuding pure joy.

POP-UP VIGNETTES: Dearest Love (Parts 1-3) world premiere, choreographed by Mateo Galindo Torres; and performed by professional dancers Taylor Bojanowski and Mio Sakamoto.

An unusual and delightful love story emerges between a woman and a dress on a dress form, as we encounter this magical tale in three parts, in between porch dances.

Last night’s event also included the very cool unveiling of the Porch View Dances Lane street sign (across the street from the meeting place at 92 London Street).

It’s a lovely way to spend an evening, walking through a beautiful, historic neighbourhood and witnessing the joy, poignancy and creativity of expression in movement and dance.

Porch View Dances continues until July 21, with performances Thurs-Sat at 7:00 pm and Sunday at 1:00 pm. Tickets are Pay-What-You-Want.

Department of corrections: One of the dancers in Dearest Love was previously incorrectly identified as Caryn Chappell. It’s actually Taylor Bojanowski; this has been corrected.

Here are some pix I took at last night’s opening.

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