Top 10 Theatre 2019

It’s that time of the year again. Here are my top 10 theatre productions for 2019, in alphabetical order (based on Toronto productions I reviewed this calendar year):

Athabasca. Convergence Theatre

Between Riverside and Crazy. Coal Mine Theatre

The Black Drum. Canadian Cultural Society of the Deaf and Deaf Cultural Centre

The Flick. Outside the March

The Huns. One Four One Collective

Night Feed. Canvas Sky Theatre

Pass Over. Obsidian Theatre

Rose. Soulpepper

White Heat. Pressgang Theatre

The Winter’s Tale. Shakespeare in the Ruff

 

Honourable Mention

Actually. The Harold Green Jewish Theatre Company, in association with Obsidian Theatre

Election. Common Boots Theatre, in association with Nightwood Theatre and Theatre Direct

Every Day She Rose. Nightwood Theatre

Intangible Adorations. Haus of Dada, Workman Arts, KC Cooper and Meek

The Learned Ladies. George Brown Theatre School

Othello. Shakespeare BASH’d

 

Questions of perception, assumption & expectation in the powerful, riveting, provocative Actually

Tony Ofori & Claire Renaud. Set design by Sean Mulcahy. Costume design by Alex Amini. Lighting design by Steve Lucas. Photo by Joanna Akyol.

 

The Harold Green Jewish Theatre Company, in association with Obsidian Theatre, opens its 13th season with Anna Ziegler’s Actually, directed by Philip Akin, assisted by Kanika Ambrose; and running in the Greenwin Theatre at the Meridian Arts Centre (formerly the Toronto Centre for the Arts). Two Ivey League freshmen, a Black male student and a Jewish female student, make a connection that becomes sexual in nature—and each has a very different experience and account of the night they spent together. Powerful, riveting and provocative—featuring compelling and genuine performances—this timely two-hander takes you on a see-saw ride of belief, empathy and understanding; highlighting perceptions, assumptions and expectations based on race, gender and class.

Excited, terrified and determined to do well, Amber (Claire Renaud) and Tom (Tony Ofori) arrive at Princeton for their first year of studies. She’s quirky and awkward, with romantic notions of sex and limited experience; he’s got swagger and game, with a sexually active lifestyle and a commitment to sowing his youthful wild oats. Opposites attract on common ground as the two make a connection; and attraction brings them together in Tom’s bed.

During their encounter, Amber finds that something changes for her; and their initially sexy fun times experience becomes uncomfortable and unwanted. She relates how she attempts to put a stop to it by getting off the bed, saying “Actually…” Tom believes she was into it, and later remembers nothing from her verbal communication or body language that would have suggested otherwise. Amber comments on the night to a friend, and the response prompts her to report the incident to the university, which launches a sexual misconduct investigation and hearing. Amber believes she was raped, and Tom is shocked and mortified by the allegation.

As their individual and collective stories unfold, the audience goes from being confidante—as we hear about their lived experiences with family, sex, desire, what inspires them—to university hearing panelist as they make their statements. Both had a lot to drink on the night in question. Both feel like outsiders with much to prove, anxiously navigating their first year at a prestigious school, along with raging 18-year-old hormones, and a culture of sex and partying. Not the best conditions for making good choices. Both live with body issues: Amber with the pressures of traditional feminine beauty standards; and Tom with the everyday racism and prejudice that accompany the colour of his skin. The seriousness of Amber’s rape charge lands particularly hard on Tom—a young Black man living in a world stewed in toxic, ongoing systemic racism. And Amber’s initial tacit consent that night, going to his room for the purposes of sex, combined with her behaviour earlier that evening, puts her credibility in question.

Compelling, genuine and nuanced performances from Renaud and Ofori in this vital, timely piece of theatre. Renaud brings a big spark of light, energy and pathos to the adorkable, hyper-talkative Amber; a young woman desperately treading water to stay afloat in a new world of classes, assignments, squash practice and obligatory partying. Amber finds herself wanting and not wanting at the same time; pressed forward by social media-driven peer pressure, she engages in activities and behaviour even when her heart isn’t really in it. Ofori’s Tom is a complex portrait of a confident, frank young man who wants to do his family proud; Tom is the first of his working class family to attend university, let alone at an Ivey League school. There’s a sensitive soul beneath the swagger, expressed through Tom’s love of classical music and piano playing—where he finds a space to be free.

It would be grossly simplistic to call this a “he said/she said” story. As you vacillate between believing and sympathizing with one, and then the other, in the end you may find yourself believing both of them. And if both are right, on which side of this 50/50 situation will the feather land in the final decision? In this age of #MeToo and #consent, and with all of these complex and intersectional variables to consider, audiences will no doubt come away with questions, conversations and reflections. This story is a prime example of why sex, sexuality and consent need to be taught in elementary and secondary schools.

Actually continues in the Greenwin Theatre at the Meridian Arts Centre (formerly the Toronto Centre for the Arts) until September 29. Advance tickets available online by clicking on the show page calendar.

ICYMI: Check out assistant director Kanika Ambrose’s Artist Perspective piece for Intermission Magazine.