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).

 

FireWorks Festival: Real-life fame, fortune & fall in the entertaining, heart-felt Belle Darling Klondike Queen

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Lindsay Sutherland Boal. Set design by Teodoro Dragonieri. Costume design by Adriana DeAngelis. Lighting design by Liam Stewart. Photo by Nicholas Porteous.

Alumnae Theatre Company (ATC) opens its annual FireWorks Festival of new works with Natalie Frijia’s Belle Darling Klondike Queen, directed by Lori Delorme, with music direction by Anita Beaty—running upstairs in the Studio. Part cabaret, part vaudeville, all heart—this highly entertaining and engaging piece of musical storytelling takes us on vaudeville star Klondike Kate’s (born Kathleen Rockwell) real-life journey of fame, fortune and fall, all set against the backdrop of fading days of the Klondike Gold Rush.

Put on your boots, leave your pick and sing along at the Portland Alaska Yukon Society’s 1931 Sourdough Reunion, featuring headliner—none other than the famous star of vaudeville stage—Klondike Kate (Lindsay Sutherland Boal)! Alumnae Theatre’s Studio Theatre has been transformed into a vaudeville music hall for this real-life tale of the highs and lows of Kate’s storied career in Canada’s North, and dreams of becoming a nation-wide vaudeville impressaria across the U.S.

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Sarah Kaufmann, Madeleine Keesmaat-Walsh, Roxhanne Norman & Lindsay Sutherland Boal. Set design by Teodoro Dragonieri. Costume design by Adriana DeAngelis. Lighting design by Liam Stewart. Photo by Nicholas Porteous.

Accompanied by a fine ensemble of multi-talented, multi-tasking actors (Sarah Kaufmann, Roxhanne Norman and Madeleine Keesmaat-Walsh), with piano player Calvin Laveck tickling the ivories, Kate takes us on a whirlwind musical and storytelling tour of her life—from wayward Victorian Catholic schoolgirl (Kathleen), to vaudeville chorus girl (Kitty), to headliner Belle Darling Klondike Queen (Kate), and a near miss as Pantages theatre partner and impressaria.

Kate has no use for being a “lady” in the traditional Victorian sense of the word, and sets off on an adventure of her own making—breaking gender barriers and the rules as she goes. Taking us back to the “good ‘ol days” with song, story and satire, the God’s honest truth is that these meanderings of nostalgia can’t erase the personal and financial risk, danger and heartbreak of those who tried their luck—and put their strength and resolve to the test—searching for gold in those freezing cold Northern mountains. All for fame and fortune.

Sutherland Boal gives a powerhouse performance as the ambitious, fearless Klondike Kate—a role that amply showcases her considerable vocal chops as she belts out rousing music hall tunes and caresses melancholy ballads. Sassy, classy, gutsy and irreverent, Kate turns away from what’s expected of her as a “good Victorian lady” to carve out her own path and live on her own terms. And beneath the seasoned showmanship and razzmatazz of Kate’s vaudeville persona, Sutherland Boal digs deep to reveal the broken-hearted woman who reached for it all only to find her ultimate dream of business partnership taken away. Disappointed, but not discouraged, she soldiers on—the show must go on, after all.

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Sarah Kaufmann. Set design by Teodoro Dragonieri. Costume design by Adriana DeAngelis. Lighting design by Liam Stewart. Photo by Nicholas Porteous.

She is well-supported by a stand-out ensemble; changing character on a dime in this fast-paced, alternately slapstick and poignant trip through music hall shenanigans both on and off the stage. Kaufmann is adorably Puck-like in her comic turns as the crafty entrepreneur Sophie, and a lusty young sourdough (a Yukon resident) on the make. Norman performs with a playful glint in her eye—and has an outstanding set of pipes herself—in her saucy turn as Kate’s pal and vaudeville partner Gertie; and the charming and irresistible, but false, Alexander Pantages. And Keesmaat-Walsh brings hilarity and swagger as Kate’s gruff boss Arizona Charlie and an awkward strong woman act, among others.

It’s a real-life adventure of fame, fortune and fall—told with song, story and heart. But you don’t have to believe me; check out the trailer (scroll down on the show page).

Belle Darling Klondike Queen continues in the Alumnae Studio Theatre until November 10; get advance tickets online or by calling 416-364-4170 (ext. 1), or pick up 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 9 matinée performance.

FireWorks continues its three-week run until November 24, presenting a new show each week: Crystal Wood’s Grief Circus, directed by Paige Foskett (Nov 13-17); and Genevieve Adam’s If the Shoe Fits, directed by Heather Keith (Nov 20-24).

 

 

Toronto Fringe: Drowning in a small town in the haunting, lyrical Mourning After the Night Before

Models Abby Gillam, Ryan Helgason & Lauren Helgason. Photo by Chloë Whitehorn.

 

Mad River Theatre takes us to a small town by the water as a family struggles to overcome tragedy in Chloë Whitehorn’s haunting, lyrical Mourning After the Night Before; directed by Heather Keith and running at the Helen Gardiner Phelan Playhouse.

Lucy (Mary Wall), Drew (Dave Martin) and their teenage daughter Pippa (Brianna Richer) have just arrived in a small town by the water to start a new life, their move assisted by local residents Everett (Jack Morton) and his guardian Fenwick (Loriel Medynski). Pippa is a troubled poet, surrendering the dark contents of her creative, intelligent mind onto paper. Lucy is feeling out of place in her own skin; and Drew, who feels so far away, just wants everyone to be okay. Everett is smitten with Pippa—and Lucy—and the attractions are mutual; and Fenwick’s just trying to keep it together as her adopted son, a reminder of the friend she loved, is on his way to manhood.

Nice work from the cast in this quiet, intimate, ethereal piece where everyday moments float by like leaves on water. Richer’s restless, introspective wild child is nicely balanced by a playful, creative spirit. Wall’s Lucy is part caged animal, part cougar on the hunt as she grapples with her identity as wife and mother and finds herself lacking. Martin’s Drew avoids the stereotypical frustrated, estranged husband; Drew is a hurt, gentle soul who genuinely cares and wants to help, but finds himself at a loss to do so. Morton’s Everett is an endearing combination of lusty youth, optimism and kindness as he navigates his way through the early stages of manhood. And Medynski brings a gentle wisdom to the frank, no-nonsense Fenwick, who’s dealing with both a past loss (Everett’s mother) and an impending loss of her own (Everett growing up).

I first saw an early, shorter version of the play at Alumnae Theatre’s New Ideas Festival in 2018; and was happy to see its evolution. It combines everyday, intimate moments with poetry, and word play and introspection; woven with images and perspectives of water, the characters float around, dive into and drown in their lives as they grasp and gasp for connection, identity and meaning. The water almost becomes a sixth character here. And the minimalist set, incorporating black cubes to denote separate spaces in the story, places a focus on the words and characters as they glide in and out of moments, memories and musings. The result is a heightened realism that is both atmospheric and lyrical.

It is ironic that the family’s retreat to the peace and quiet of a small town forces a level of discomfiting introspection as each tries to anchor themselves within themselves and the world—a not so peaceful or quiet endeavour.

The Mourning After the Night Before continues at the Helen Gardiner Phelan Playhouse until July 14; check the show page for exact dates/times and advance tickets.

New Ideas: The chaotic metaphysics of life, love & monsters in the water in the funny, moving, poetic Week 3 program

Alumnae Theatre Company continues its 30th annual New Ideas Festival (NIF) of short new works, opening the Week Three program last night. It’s the final week of the festival, running up in the Alumnae Studio.

The Devil and the Deep Blue Sea by Natalie Frijia, directed by Kay Brattan. In 1882 Toronto, 39 people have mysteriously drowned in Lake Ontario—and rumour has it there’s a monster beneath the slate blue water. Rookie reporter Marjorie May (Emma Tse) is determined to get the story, visiting Mary-Anne’s (Stella Kulagowski) pub down by the docks to gather some information. Things get real when they’re joined by the terrified Captain O’Connell (Shawn Lall), who’s barely escaped with his life. As the incoming storm batters the pub, there’s something else out there in the night. Is the creature coming after the Captain to finish what it started?

Nice work from the cast building the intrigue and tension in this 15-minute piece of exaggerated Toronto history. Tse brings a youthful sense of feisty defiance to the young reporter, while Kulagowski is fiery and cynical as the voluptuous barkeep; and Lall’s Captain runs the gamut from frozen terror to gritty resolve as the three stand together in the end.

Marty and Joel and the Edge of Chaos by Camille Intson, directed by Lorna Craig. Chaos theory meets romantic dramedy in this delightful and poignant two-hander played out by four actors. You’ll see what I mean. A couple—Marty (Allison Shea Reed/Kim Croscup), a physicist, and Joel (Simon Bennett/Ryan Bannon), a photographer—occupies the same space in two different times: the day they met and the day of Joel’s second marriage some 20 years later. Constructing and deconstructing the relationship, we see them go from first love to finally working toward some closure.

Beautifully acted and staged. Shea Reed and Bennett are adorably awkward as two 20-somethings getting to know, and falling for, each other. Marty and Joel seem to be perfect complements to each other, with Marty’s adventurous nature and nerdy science knowledge, and Joel’s creative, intuitive sensitivity. As older, more world-weary and disillusioned versions of their former selves, Croscup’s Marty is frustrated and angry, still looking for the answers; and Bannon’s Joel has moved on, but still cares deeply for Marty and treasures their relationship.

The Officiant by Francesca Brugnano, directed by Paige Foskett. It’s 1938, and Shirley (Brianna Riché) and William (Jordan Kenny) have stolen off into the woods, where Shirley has decorated a clearing for them to be secretly married. But when the Officiant (Lisa Kovack) arrives, the wedding service gives them a glimpse into their future together, making them think twice. Is it worth all the pain and suffering?

A lovely, poetic dance of text and movement to tell this story, with moving work from the cast. Riché is brave, romantic and practical as Shirley; and Kenny brings an earnest boyish charm to William. Kovack gives the Officiant a witch-like air of mystery and foresight; cruel to be kind, she means to get real with this couple.

Mourning after the Night Before by Chloë Whitehorn, directed by Heather Keith. When Lucy (Mary Wall) and Drew (Dave Martin) decided to move to a small town, they did it to make to make a quieter, more peaceful home for their family. Making friends with brother and sister Everett (Conor Ling) and Fenwick (Tiffany Deobald), locals who help them get settled, Lucy struggles with her relationship with her daughter Pippa (Grace Callahan), as well as emerging feelings for Everett. Everett is falling in love—but is it with Lucy or Pippa? Drew and Fenwick are trying to keep their respective families safe. Did Lucy miss something in Pippa’s dark, teen angst-filled poems?

Lovely work from the cast in this haunting, lyrical family drama. Wall is wounded and desperate as Lucy; heartbreaking in a life adrift and grasping for a sense of self. Martin’s Drew is heart-wrenching to watch; sensitive and supportive, Drew doesn’t know what to do—and finds himself drifting farther from his family. Callahan gives Pippa an ethereal, creative spirit; a somewhat wild and rebellious teen, she finds solace in writing. Ling brings a sweet, shy romantic edge to Everett; while seeing anew with these new relationships, Everett’s eyes may not be wide open. Deobald is an irreverent charmer as Fenwick; tasked with raising Everett after they were orphaned, Fen is just trying to keep it together, but shows genuine concern for the rift between her new friends Lucy and Drew.

The NIF Week Three program continues in the Alumnae Theatre Studio until March 25. Get advance tickets online or by calling the box office: 416-364-4170, ext. 1 (cash only at the box office). Performances run Wednesday – Saturday at 8 pm, with matinees on Saturday and Sunday at 2:30 pm.

Coming up: Week Three staged reading on Saturday, March 24 at noon. Animal by Romeo Ciolfi, directed by Liz Best; featuring actors Alexandra Milne, Anton Wasowicz, Steven Vlahos and Michele Dodick.

It’s a very popular festival and an intimate venue, so advance booking is strongly recommended. In the meantime, check out the Week Three trailer by Nicholas Porteous: