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.

When Richard met Mimi – all the nerves, humour & excitement of a first date in magical, sassy Blind Date

BlindDate_Final_webAfter recently seeing Rebecca Northan perform her solo show Troublemaker at this year’s Soulo Theatre Festival, at long last, I got to see the full-length version of her play Blind Date at the Tarragon Theatre Mainspace last night. I’d fallen in love with Northan’s character Mimi and the show when I saw its 10-minute premiere at The Spiegeltent at Harbourfront Centre during World Stage in 2007, but the 90-minute version had eluded me. Well, no more my friends. And it was marvelous, brave, sexy and inspiring.

Blind Date begins in the lobby before the house opens, as Mimi circulates among the incoming audience members in search of her date. There are information alerts in the program and on signage regarding “consent to be romanced” – audience participation in the show, especially the individual chosen and his loved ones – and “consent to be videotaped/recorded.” The atmosphere of anticipation starts well before the show gets under way, as we wait and chat with our drinks, receiving welcome and a slip of paper containing a compliment from our handsome and affable scenographer/host (Kristian Reimer), and our lovely and attentive scenographer/server (Christy Bruce). Who will Mimi choose?

Blind Date goes beyond your standard on-the-fly improv show in that Mimi’s date is selected from the audience – a civilian, if you will. Oh, yeah – and Mimi is a clown. Not a circus clown, but a sexy French lady clown in a red dress and fishnets; a clown from the classical school of clown. Some stupid bastard has stood her up, leaving her waiting alone at the restaurant for two hours – and being the resourceful and proactive gal that she is, she finds herself a replacement date.

Last night’s selected date was Richard, a fit, married, 70-ish tax planner and South African by birth who likes to work out and once raced sports cars. His wife wasn’t with him last night, but he and the two friends who came with him were sure that she’d be okay with him going on this imaginary blind date. Before they get started, Mimi instructs him about the world of the play and the time-out space (either Mimi or her date can call a time out and move to a taped off corner of the stage to take a break from the world of the play, ask questions or strategize). She also tells him that, other than pretending to be single, he is to be himself. Blind Date may be a play of make-believe and improv, but it is rooted in truth and honesty.

Throughout the course of the date, we learn more about him as Mimi gently encourages him to share things about himself. A man who likes to live life on the edge, though not for some time, he espouses the philosophy that one must live life to the fullest. Mimi is extremely adept at coaxing information out of Richard, but far from a one-sided dynamic of sharing, Mimi also speaks of her life – real-life moments gleaned from Northan’s own life. In this case, some delightful coincidences emerge – just like in a real date. Mimi is charming, sassy, gently seductive and vulnerable. And truthful and honest, and very attentive to the comfort of her date.

Rebecca Northan as Mimi in Blind Date
Rebecca Northan as Mimi in Blind Date

The date travels from the restaurant to Mimi’s car (her uncle’s vintage car, actually) and an eventful and hilarious drive to her place (featuring a very funny performance by Reimer) to the condo (also her uncle’s) where she’s staying. At one point, Richard is left alone in the living room while Mimi goes to freshen up; he takes the opportunity to explore while he waits, and finds a copy of Henry and June, as well as some interesting items in a decorative box, on a side table. Game and a bit bashful at times, Richard did a marvelous job onstage. Who among us would be brave enough to kiss a stranger in front of a theatre full of strangers? And Mimi’s astute observation that he deflects uncomfortable moments with humour was spot on, as was her noting that this kind of response indicates that he was emotionally moved somehow in that moment.

They only took one time out. In this case, it was called by Mimi in order to set up how they were going to proceed: continue with the date or jump five years into the future. This choice is left up to the audience, who overwhelmingly choose the five-year jump, a choice that has been consistent throughout the seven-year, 400+ dates run of the show. Five years later, Richard and Mimi are living together, but not married – and she has a surprise for him.

A remarkable, entertaining, gutsy and moving piece of theatre. My friend Daria and I had a blast, and had a chance to chat with Northan after the show, where we found her chatting with a group of delighted Tarragon Theatre subscribers (the bar re-opens after Friday night performances, giving audience members the opportunity to chat with the cast). Blind Date always has Mimi paired with a male date (and there are five women trained to play Mimi now, including one who identifies as lesbian). Who knows? If Buddies in Bad Times decided to do a run of Blind Date – in Tallulah’s, say – Mimi would have the chance to kiss a girl. And she might like it.

With shouts to the design team of Brandon Kleiman (designer) and Jason Hand (lighting designer); and to SM and sound improviser Jamie Northan, and the lighting crew.

When Richard met Mimi. All the nerves, humour and excitement of a first date and beyond in Rebecca Northan’s magical Blind Date.

Blind Date continues on the Tarragon Mainspace till October 4 – check here for the full schedule and tickets. Christy Bruce, who also acts as the Mimi alternate, will take on the role of Mimi during weekend matinées, with Northan acting as the scenographer/server. Also please note some special events corresponding with the show: Blind Date Talkback Week (Sept 15-20) and Tarragon Tasting Night (Sept 25).

You can follow Blind Date on Facebook and Twitter, and check out the trailer on YouTube and the CTV interview with Northan.

Go see this – and see it again. It will never be the same show twice. Take a look at some audience reaction from opening night:

Art, words & stage

Busy times continue, but I wanted to give a shout out to some upcoming events and shows, including two that open today:

Inez/Recent Paintings: this exhibit has been up since October 5, but has its official opening tonight (Thurs, Oct 18 from 6-9 p.m.) and runs until November 4 at Fran Hill Gallery (285 Rushton Road, Toronto). For more info and gallery hours, please visit the gallery site: http://www.franhill.ca/

International Festival of Authors (IFOA): Also opening today (October 18 – 28) at various locations, including venues at Harbourfront Centre and the Ex. Check the website for full programming, venue and reservation info: http://www.readings.org/?q=ifoa

Act2 Studio production of Dinner with Goebbels: October 25-28 at Red Sandcastle Theatre (922 Queen St. East – at Logan). Written by Mark Leith and directed by Les Porter. For more info, visit the Studio2 site page: http://www.ryerson.ca/~act2/activities.html#goebels

I’ll be back at Alumnae Theatre next week, working with designer Ed Rosing on the set for Alumnae’s upcoming production of The Drowning Girls, which runs in the studio November 16 – December 1. Written by Beth Graham, Charlie Tomlinson and Daniela Vlaskalic, and directed by Taryn Jorgenson, with assistant director Antara Keelor – and featuring actors Jen Neales, Tennille Read and Emily Smith. For a peek at this show, take a look here:  http://www.alumnaetheatre.com/1213drown.html

Literary inspiration @ authors fest

Got another does of creative inspiration last night when I attended a reading at the annual International Festival of Authors (IFOA) at Harbourfront Centre, in the Brigantine Room (or “the Brig” as my pal Kerri MacDonald and I like to call it).

It was an international roster of authors at this reading too: Russell Banks (USA), Anne Enright (Ireland), Erin Morgenstern (USA) and Olive Senior (Canada/Jamaica) – hosted by Rachael Giese, senior editor at The Walrus. In fact, The Walrus was the host for all of last night’s readings – dubbed An Evening with The Walrus. The authors read in alphabetical order, with two each reading before and after the intermission.

Banks read from his novel Lost Memory of Skin, the story of a young man living on the fringes of society, struggling to make a life for himself after being released from jail, and bearing the label and ankle bracelet of a convicted sex offender. Anne Enright’s The Forgotten Waltz follows Gina through life and love – and the ensuing catastrophes that come with desire and longing. The Night Circus, by Erin Morgenstern, takes the reader on a magical journey into a mysterious circus that operates only from sundown to sunup. And Olive Senior’s novel Dancing Lessons tells the story of a woman writing her life after she’s been moved into a retirement home, which she hates – past and present woven onto the page.

As I heard each author read, I felt like a kid at story time – except, in this case, I was in a room full of grown-ups, hearing grown-up stories.

IFOA is on until Sunday, October 30 – for more info and tickets, visit their website: http://www.readings.org/?q=ifoa