Brother and sister children’s book team, illustrator Phoebus (Greg Solomon) and writer Joy (Charlin McIsaac), have hit a wall in their career; the fire woman superhero featured in their books is scaring kids and making them feel bad about themselves. When they return to their hometown Peterborough to visit their cousin Winny (Madeleine Brown), a troubled pyromaniac since the death of her parents in a fire when they were all kids—and the inspiration for their work—they find themselves suddenly becoming journalists. Winny’s recent fire escapade accidentally killed two Peterborough Examiner reporters, and Editor in Chief Art (Andrew Cromwell), former classmate and school bully, blackmails them into working for him in exchange for not suing Winny. The goal: sell 100 papers.
The siblings’ first assignment is producing an exciting piece about a local natural landmark—a big rock. They strike gold when Winny injures her hand while punching it, spinning the event into a story of significant bravery and resilience, while also making the town’s “crazy fire girl” look good in the media. This inspires local charity organizer Lyle (Rouvan Silogix) into inviting Winny to be the torch putter-outer at an upcoming event supporting those who’ve soldiered through personal injury.
Things go from crazy to bad to worse when Joy decides to take things to the next level. How far will she go for subject matter that people will want to read? Will her relationship with her brother, who’s against her increasingly extreme methods, be the same? And will their cousin Winny survive it all?
Great work from the cast is this sharp satirical trip. McIsaac and Solomon are great foils as the positive, cheerful Joy and the cynical, edgy Phoebus. Brown gives a lovely vulnerable performance as the shy, awkward Winny, who really does have reserves of strength that largely go unnoticed; still living in a town where everyone thinks she’s crazy, Winny perseveres because it’s her home. Cromwell plays the edge of menacing bully and charming manipulator as Art; you can tell immediately that Art was the school bully, and he’s desperate and amoral enough to go along with whatever scheme will sell newspapers. And Silogix gives lovely comic turns as the clueless, enthusiastic charity organizer Lyle and the gruff Greyhound bus driver.
Telling stories, making up stories and reporting stories—sometimes, they can overlap and get all mixed up. Are we fetishizing personal injury in our news media and charities? And is fake news, however small and local, ever harmless?
News Play continues at the Annex Theatre until July 13; check the show page for exact dates/times and advance tickets.
Thomas Gough & Christopher Fowler. Costume & prop design by Chelsea Driver. Photo by Graham Isador.
The Three Ships Collective and Soup Can Theatre have teamed up to present a delightful, unique, immersive production of holiday favourite A Christmas Carol—with original text by Justin Haigh, direction by Sarah Thorpe and musical direction by Pratik Gandhi—opening last night at Toronto’s Campbell House Museum. Incorporating live music and song, this version of the Charles Dickens classic ranges around the various rooms at Campbell House; the dynamic, effective staging taking us through time and space as we follow in the footsteps of Ebenezer Scrooge’s eye-opening, heart-wrenching and frightening journey of enlightenment and redemption.
This version of A Christmas Carol has a dark, Gothic edge that goes beyond the staging in a historic house that surely has ghosts of its own. Opening in the basement room opposite the kitchen, which serves as Scrooge’s office in the present and Fezziwig’s in the past, our tale opens with a haunting solo violin version of a familiar Christmas carol (performed by actor Amy Marie Wallace), as Scrooge’s clerk Bob Cratchit (played with affable put-upon optimism by William Matthews) huddles over his desk, trying to keep warm as the coal fire dies.
Joining us as narrator and guide is the ghost of Jacob Marley (Christopher Fowler, nicely combining gravitas and melancholy), who looks on as Scrooge arrives (Thomas Gough, exuding stone cold malice and disdain), adding an extra chill to the already glacial office. Rebuffing a dinner invitation from his nephew Fred (played with jovial cheer by John Fray) and a request for a donation from two local philanthropists (the earnest Jim Armstrong and the crisp Kholby Wardell), Scrooge goes on to later refuse the pleas of a young woman (Tamara Freeman, in a moving, impassioned performance) whose injured father and struggling family are facing foreclosure of their home on Christmas Day.
Left alone in his home after vexing his housekeeper Mrs. Dilber (played with feisty cheek by Alex Dallas), Scrooge is visited by the ghost of his old friend/former partner Marley—and his journey of reclamation at the hands of three spirits begins: the Ghost of Christmas Past (an ethereal, eerily calm turn from Wallace), the Ghost of Christmas Present (a hilariously rowdy, brutally honest Christopher Lucas) and the Ghost of Christmases Yet to Come (played with eerie, imperious silence by Tiffany Martin).
The alternate back story on Scrooge’s youth (Little Scrooge played with adorable, wide-eyed sweetness by Makenna Beatty, who also plays Tiny Tim; in rotation throughout the run with Chloe Bradt) reveals a loving home, with a father (Fray) who made bad financial decisions and subsequently forced to leave his wife and two young children at Christmas for a three-year sentence in debtors’ prison; this makes Scrooge’s miserly ways all the more poignant and his callous disregard for the destitute all the more despicable. The shy, introverted young Scrooge (played with wallflower likability by Mike Hogan) who falls in love with the adventurous extrovert Belle (Martin, with lovely, playful forwardness) at his mentor/boss Fezziwig’s (a jolly, hearty Armstrong, with Dallas as Fezziwig’s well-matched wife) rollicking Christmas office party later takes over the business—and we see the money-grasping materialism start to take hold, destroying his engagement to Belle and distancing him from the world.
And as Scrooge’s heart softens over the nostalgia of good times and lost love, it begins to break when he sees the hardship at the Cratchit house—and how, even in the most dire of circumstances, Bob and wife Emily (played with warmth, pragmatic perseverance and fierceness by Margo MacDonald) put on a brave face to make the best holiday celebration they can for their children. Then, the terror at the realization of his own mortality, and how all he strived to gain in this world can be sold off to local pawn dealer Old Joe (an edgy, menacing turn from Hogan). His heart and soul reclaimed, he joins his fellow men for the holiday, reaching out with newfound warmth and generosity to those around him (lovely work from Gough on Scrooge’s transformation).
It’s a classic cautionary tale that still speaks to us today—perhaps even more so, now that hard-right conservatives are emerging in positions of power all over the world. The hard-hearted philosophy that the poor should pull themselves up by their own bootstraps is unfortunately still alive and well. And maybe a certain president and premier would benefit from some ghostly visitations.
A Christmas Carol continues at Campbell House Museum until December 22; check here for exact dates and times. The run officially sold out before opening, but keep an eye out on Soup Can’s Twitter and Facebook feeds for released tickets. Due to the intimate nature of the performance, audience size is limited—so you must book ahead online.
Note from the production team: Due to the immersive and mobile nature of this production, audience members will be required to stand for a significant portion of the performance. A very limited number of seats can be reserved for patrons unable to stand for extended periods of time. Please contact the Campbell House Museum at 416-597-0227 ext. 2, or email@example.com, to confirm availability of these seats and to reserve in advance.
While this production is family-friendly, it does touch on some mature themes and is recommended for children 10 and older.
Note from me: Cellphone gawkers beware! Jacob Marley has his eye on you, and will silently and swiftly call you out on your naughty behaviour.
How do the stories we tell about ourselves reflect on us? And how do the stories we read shape how we see the world? Pressgang Theatre explores these questions, combining journalism and theatre together as playwright/performer Graham Isador takes us on a journey of personal story pitches to BuzzFeed in …And You’ll Never Believe What Happens Next. Directed by Jiv Parasram, Isador is performing in the Theatre Centre Incubator for SummerWorks.
Staged as a stand-up routine, while Isador’s solo show has elements of a comedy show, it’s a storytelling show—differentiated by a beginning, a middle, an end and a take-away. Having taken the path to writing and publishing, a piece catches the eye of the Reader editor at BuzzFeed; and he’s invited to pitch his stories, with the instruction to mine the vulnerability—for this is a key ingredient of serious writing. What follows is a challenging apprenticeship in journalism; one that is both gruelling and encouraging.
Cycling through various stories from childhood and youth to adulthood, he submits pieces torn directly from his own personal headlines: The worst day of his first job; a heart-wrenching break-up, precipitated by a horrible moment of finding out his girlfriend was cheating on him; looking after his injured mother while his father lay in a hospital bed in critical condition.
Isador is a masterful storyteller, delivering a performance that is frank, darkly funny and deeply moving. There is vulnerability in the directness, coupled with a quirky stand-up comic edge—reeling us in and keeping us at a safe distance as the storytelling takes on a confessional tone. Struggling with depression, he comes upon a chicken/egg problem: Is it these worst moments of his life that are making him depressed—or is it the telling of story after story of the worst moments of his life?
Is it true that serious journalism only includes the stories of struggle, hardship and tragedy—the awful, sad, worst moments of our lives? What do we get out of staying in bad situations? In telling those tales of personal woe? In reading them? The take-away is largely left up to us—some serious food for thought.
…And You’ll Never Believe What Happens Next has two more performances at SummerWorks: Aug 17 at 10:00 p.m. and Aug 18 at 9:00 p.m. Get advance tickets online. Last night’s show was packed, so advanced booking advised.
Part personal journey, part edgy TedTalk, the storytelling is frank, unapologetic and authentic as the hard-working, hard-drinking, hard-partying Black takes us from his life as the frontman of the glam rock band Robin Black and the Intergalactic Rockstars, to fighting in the UFC cage, to becoming a professional MMA fight analyst. Turning his life around from a deadly diet of drugs and alcohol after waking up to a drug-induced seizure, Black set his sights on becoming a professional fight commentator—but, first, he had to become a fighter. Knowing full well that larger goals are made up of smaller goals (a system of goal achievement he learned from his dad), this meant training, studying—and overcoming his previous reputation as an eyeliner-wearing rocker with big hair and tight pants, to gain respect in the cage.
Black’s determined, fighter spirit goes super nova in this gutsy, inspirational solo show—and there’s genuine gratitude, joy and excitement to be making a living doing what he loves.
Enjoy the Hostilities has one more performance at the Bovine: July 15 at 6 pm. Last night’s show was jam-packed, so advance booking strongly recommended.
Want to check if the show you want to see is sold out? The Toronto Fringe folks have set up a page for sold-out shows, updated daily.
Beatrice Little (Brittany Miranda) and her partner (John Wamsley) need funding to grow Potatogram, their innovative, new messaging business. When Bea’s pitch is turned down by a local shopping mall business maven (Charlin McIsaac), a chance meeting with a former university classmate (Madeleine Brown) offers an opportunity to earn some money in a hot new business: selling products emblazoned with the statement “Women Rule The World”.
Faced with unfriendly responses to her sales pitches, zero sales and competition from a fiercely ambitious colleague (Wamsley), Bea realizes that selling t-shirts isn’t as easy as she thought and finds herself manipulating women so she can meet her weekly sales quota. And what’s that mystery influencer dude on the scooter (Wamsley) up to?
Edgy, quirky and insightful, Brown’s intelligent, darkly funny script plays devil’s advocate on the pyramid scheme sales model, manipulative sales relationships and commercialized feminism; and calls out systemic racism-induced barriers and the cult of celebrity. The sharp, entertaining cast is more than up for the challenge, with Brown, McIsaac and Wamsley shifting deftly between multiple hilarious characters; and Miranda juggling Bea’s journey through the insanely competitive world of the independent retailer (IR), all while trying to keep her primary partnership and business alive. As Bea confronts the dishonesty of it all, she’s got some serious prioritizing and hard choices ahead of her. Can a slogan on a t-shirt be the catalyst for real change—or is it just a way for some corporate entity to make money off our hopes and dreams?
Everyone Wants A T-Shirt! continues in the TPM Backspace until July 14; check the show page for exact dates/times. These guys are selling out—including last night’s 10 p.m. performance—plus it’s an intimate space, so booking ahead is a really good idea.
Do you have any Indo-Caribbean friends? Do you want one? Jivesh (Jiv) Parasram will be that friend. Canadian-born with Indo-Trinidadian heritage, Jiv’s short piece about birthing a cow, coupled with experiences of growing up in Nova Scotia, and connections with family in Trinidad and Hinduism, evolved with the assistance of dramaturg Graham Isador into Take d Milk, Nah? The title is Jiv’s impression of a Trinidadian cow; cow’s don’t “moo” so much as they “nah.” Also, cows are awesome (and we’re greeted by one outside TPM).
Beginning with a hilarious prologue that introduces the show as an identity play, Jiv is as much self-deprecating as poking fun at the solo show experience. And he nails it when he points out that identity plays are an especially Canadian thing. Part stand-up, part storyteller, part teacher, Jiv weaves cultural and family history with ritual, Hindu stories and personal anecdotes—and even a trip into his mind—gently schooling us along the way with patience and good-humour.
Like when he talks about the impacts of colonialism and imperialism on occupied and/or enslaved peoples. When slavery becomes indentured servitude, and communities of former slaves are regarded with suspicion and fear of an uprising, an already oppressed people become further separated from their loved ones and even their identities. Scattered into the marginalized edges of society, how do they live with others, often in a new world far from home, and not lose their own culture?
Growing up in the East Coast of Canada, neither black nor white, and the only member of his family not born in Trinidad, Jiv relates his personal struggles in the search for identity. The birthing of the cow back in Trinidad becomes an important symbol of Indo-Trinidadian cultural identity for him—and this story is full of excitement, edge-of-your-seat veterinary drama and hilarious procedural descriptions. He also relates the personal impact of 9-11; the increase in racist remarks and treatment when he was assumed to be Muslim and therefore a terrorist. And how this led him to embrace Hinduism, thus distancing himself from ‘those bad brown people’—and stung by his response to save himself when Muslims became the target of increased oppression.
Jiv doesn’t want to start an oppression pissing contest or point fingers of blame; well-aware that mainstream education tends to leave out or gloss over the history and lived experiences of people of colour (POC), and that some white folks haven’t had the opportunity to befriend a person of colour, he’s happy to school us. And he delivers some harsh truths with a spoonful of sugar—all while recognizing his own privilege as a straight, cisgender male with a microphone. But, then, this can get exhausting—for anyone who identifies as POC. The extra time and effort spent providing basic background information of cultural history and lived experience isn’t something that people who enjoy white privilege have to do. And important, nuanced and deeper conversations may have to be delayed or put aside in the process.
Hilariously entertaining and insightful, Jiv is a sharp and engaging storyteller. Playful and candid as he chats with us—including some gentle, fun audience participation—he is respectful and inclusive, even when pointing out our differences. Because, after all, as he aptly points out, identity is an illusion—and we are all the same.
Informative and uplifting, Jiv’s show may inspire you to learn more, or check your way of thinking about and treating those who aren’t like you. And you may wind up leaving the theatre asking yourself how you hold privilege, and if/how you are marginalized.
Discovering and unpacking the intersectionality of identity and marginalization through storytelling and ritual in the entertaining, candid, mindful Take d Milk, Nah?
Take d Milk, Nah? continues in the TPM Backspace until April 22; get advance tickets online or by calling the TPM box office at: 416-504-7529. Advance booking strongly recommended.
The run includes a Relaxed Performance on Saturday April 14, 2018 at 2pm; an ASL Performance on Friday April 20, 2018 at 7:30pm; and an Audio Described Performance on Saturday April 21, 2018 at 2pm.
Autobiographical, with an altered timeline and an amalgamation of several bands that were seminal in Isador’s life, Situational Anarchy is part self-discovery, part confession, and part ‘fuck you’ to betrayal and bullshit.
From the thoughtful, curious 11-year-old whose mind is blown when his mum gets real about his grade 6 music performance, to the awkward, large and bullied kid stumbling onto puberty, Graham is searching for meaning and desperate to belong. Try as he may, he can’t seem to find his place and almost checks out—then he discovers the punk band Against Me and its lead singer Laura Jane Grace, who later transitioned from male to female. Beyond the music, the social activism and humanity of this world resonate strongly.
His joy at discovering the music and the message increases when he finds community in the band’s online chatroom—and the cool, fun, smart Mouse, who lives in LA and steals his heart. Things fall apart when he gets caught up in Mouse’s unhealthy body image lifestyle and Against Me signs with Warner Music—which he views as a sell-out, as Warner also owns CNN—and he loses that online community and Mouse. Things come to a violent head when he drops by a local punk bar. It’s definitely not the community he knows and loves. Drafting a letter to Laura Jane Grace throughout, his correspondence serves as a framework for his story. And he’s calling bullshit on her. Years later, he takes a job interviewing her. So much to say.
Staged with multiple microphones, Situational Anarchy is a punk rock solo theatre piece. Isador’s performance is genuine, raw and personal, revealing a dark, edgy sense of humour and a profound longing to connect and belong. Weaving stories of coming of age, body image, homophobia, music and activism, he opens and closes his heart and mind to us in a funny and heart-breaking, at times violent, misfit’s journey of storytelling—reminding us of the power of music and message to inspire and unite.
With shouts to the design/running team: Ron Kelly (sound), Laura Warren (lighting/projection) and Heather Bellingham (stage manager).
Identity, community and calling shenanigans on bullshit in the raw, real, nostalgic Situational Anarchy.
Situational Anarchy continues at Stop Drop N Roll (300 College St., Toronto—above Rancho Relaxo) until June 3. Tickets at the door are Pay What You Want; advance tickets available online for $15. Heads-up: Seating very limited; only 25 seats per night.
All proceeds from the show (after expenses) will be donated to Trans Lifeline [US: (877) 565-8860 Canada: (877) 330-6366] and Gender is Over.
The closing performance will be followed by a set from Stuck Out Here.