Nostalgia meets the ghosts of memory in the funny, poignant, authentically human New Magic Valley Fun Town

Caroline Gillis, Andrew Moodie, Daniel MacIvor & Stephanie MacDonald. Set design by Brian Perchaluk. Costume design by Brenda McLean. Lighting design by Kimberly Purtell. Photo by Cylla von Tiedemann.

 

Prairie Theatre Exchange and Tarragon Theatre join forces to present the Toronto premiere of Daniel MacIvor’s New Magic Valley Fun Town, directed by Richard Rose, assisted by Audrey Dwyer; opening last night in the Tarragon Theatre Mainspace. Equal parts funny and poignant, it’s an authentically human story of nostalgia and ghosts of the past as the kitchen party reunion between two childhood friends reveals some unwelcome memories.

In small-town Nova Scotia, cancer survivor Dougie (Daniel MacIvor) lives in a spotless double-wide trailer, separated from his wife Cheryl (Caroline Gillis), who’s stayed in their family home in town. Their young adult daughter Sandy (Stephanie MacDonald) is on a break from her English lit thesis to manage some mental health issues. Dougie is anxiously awaiting the arrival of Allen (Andrew Moodie), a friend from childhood and one of the few Black residents of the town back in the day, who moved on to become an English professor at U of T.

Dougie and Allen haven’t seen each other for 35 years, and their reunion—initially rife with awkward excitement, vintage music, drinking and dancing—takes a dark turn as painful, secret memories emerge. Dougie is dealing with his sense of mortality and Allen needs to get something off his chest; and lifelong feelings of deep-seated anger, shame and longing bubble to the surface.

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Daniel MacIvor & Andrew Moodie. Set design by Brian Perchaluk. Costume design by Brenda McLean. Lighting design by Kimberly Purtell. Photo by Cylla von Tiedemann.

Beautiful performances from this ensemble, enacting a marathon of emotional experience and responses. MacIvor is a compelling, high-energy presence as the tightly wound Dougie; obsessively neat and wanting things to be perfect for Allen, Dougie appears to have channelled his nervous energy into preparations for the visit—but we learn that this behaviour pre-dates his cancer diagnosis, going back to adolescence. Moodie’s calm, introspective Allen is equally gripping; perfectly complementing the frenetic Dougie, the emotionally contained Allen is bursting with the buried feelings of distant, disturbing memories—memories that are excavated and brought to the surface during this fateful visit, and intersect with his experience of being Black in a small town.

Gillis is loveably quirky and as the cheerful, attentive Cheryl; a protective wife and mother who’s at a loss as to how to help her husband and daughter, her positive demeanour masks the pain within, and she finds solace and community in the local Catholic church. MacDonald gives a hilariously playful, irreverent and sweetly poignant performance as Sandy; a post-grad student with the heart of a poet, Sandy is navigating her own illness, even as she continues to reach out to connect with her ailing father.

The classic 70s vintage vibe of Brian Perchaluk’s set design and Don Benedictson’s original music and sound design (those of a certain age were singing along with the pre-show tunes) combine nicely with Brenda McLean’s modern-day costume design, and the realism and cathartic magic of Kim Purtell’s lighting.

Each of these characters is reaching out for connection from a place of profound aloneness. And, while the deeper meaning of the titular amusement park of childhood memory is revealed—not new, magic, a valley, fun or a town—there’s strength and resilience in the present, and hope for the future, as these characters move towards light and closure.

New Magic Valley Fun Town continues in the Tarragon Theatre Mainspace until March 31; get advance tickets online or contact the box office at 416-531-1827.

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A young hero’s quest for identity in the delightful, inspiring all-ages musical Rose

Rose ensemble, with Hailey Gillis centre. Set, lighting & projection design by Lorenzo Savoini. Costume design by Alexandra Lord. Photo by Cylla von Tiedemann.

 

Soulpepper continues its Family Festival programming with the world premiere of Rose—a brand new original musical three in years in the making, adapted from Gertrude Stein’s only children’s book The World Is Round. With music and book by composer and music director Mike Ross, and lyrics and book by Sarah Wilson; directed by Gregory Prest, assisted by Jennifer Weisz; and choreographed by Monica Dottor, this delightful, inspirational story follows the journey of the nine-year-old titular hero as she sets off in search of her identity. Rose opened at the Young Centre last week; I caught the matinée yesterday.

Narrator Frank the logger (Frank Cox-O’Connell on guitar) and logger bandmates Buddy (John Millard on banjo) and Jessie (Raha Javanfar on violin) welcome us to the town of Somewhere, where everyone likes to say their name and tell you all about themselves. Only the quiet, introverted Rose (Hailey Gill) just can’t seem to say her name, no matter how hard she tries, or how much encouragement she gets from her outgoing BFF Willie (Peter Fernandes) and faithful dog Love (Jonathan Ellul). Rose is a thinker who believes a name means a lot—and she has questions. And maybe the answers to those questions will help her sort out her predicament. After all, how can she say her name when she doesn’t know who, what, where, when or why she is? Mocked by classmates who view her as a weirdo, but determined to learn, she asks her teacher Miss Crisp (Sabryn Rock), who encourages her to try something new.

Rose takes this advice to heart and chooses a different direction, trying on a new, wild personality in the process—a decision that puts her friendship with Willie in jeopardy and further isolates her from her community. Then, inspired by the idea of getting a new perspective from the local mountain top, she sets off alone to climb it to see if she can find her answers there—and ultimately, the voice to say her name.

A tale of navigating life’s contradictions and weirdness, Rose is about love, acceptance and being true to yourself—and the resilience, determination, faith and hope required in the search for the answers to life’s questions. Even if things don’t work out the way you’d hoped or expected, the journey’s the thing. And, oh the places you’ll go, within and without yourself, when you step out of your comfort zone and try something new—all while recognizing and respecting your limits.

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Hailey Gillis. Set, lighting & projection design by Lorenzo Savoini. Costume design by Alexandra Lord. Photo by Cylla von Tiedemann.

Gillis shines as our young hero Rose, giving an engaging, thoughtful and vulnerable performance as the not so little girl on a big mission. Shy, awkward and pensive, Rose longs to say her name and is driven to crazy lengths to find it within herself to do so. Gillis’s performance resonates in a deep, honest way; we’ve all felt lost and out of step with our lives at times—and identity is an ongoing evolution as we continue to explore our talents, desires and boundaries. Fernandes is an energetic treat as the confident extrovert Willie; the perfect match to the quiet Rose, Willie enjoys life’s simpler pleasures—but even he finds himself starting to ask questions. Ellul makes an adorably sweet and goofy canine pal with the loyal Love; struggling to be heard himself, even Love manages to push past his communication boundaries.

This multimedia, multidisciplinary musical features a multi-talented, multi-tasking ensemble, most of whom play several roles; not previously mentioned are Troy Adams, Michelle Bouey, Alana Bridgewater, Oliver Dennis and Raquel Duffy. Stand-outs include Bridgewater’s fierce Tina Turner-esque turn as the Lion Woman, in a powerhouse performance executed with style and impressive vocal chops. Grown-ups of a certain age will recognize Dennis and Duffy’s hilarious nod to Body Break as Trevor and Beth the Gym Buffs; and Dennis brings rock star charisma and presence as Billie the Lion. Rock gives us an endearing, comic performance as Miss Crisp, the patient, put-upon, high strung teacher.

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Raha Javanfar, Frank Cox-O’Connell & John Millard (foreground), with Raquel Duffy, Oliver Dennis, Peter Fernandes & Scott Hunter (background). Set, lighting & projection design by Lorenzo Savoini. Costume design by Alexandra Lord. Photo by Cylla von Tiedemann.

The music makes a joyful noise—inspired by blue grass, folk, gospel, rock and traditional musical theatre—and features a tight onstage band in addition to the three musician loggers: Scott Hunter on bass, James Smith on keys and Adam Warner on drums. The songs will have your heart singing and get you on your feet as you cheer for Rose along her journey. Visually spectacular and sporting a vibrant palette, Lorenzo Savoini’s imaginative and practical set, lighting and projection design, and Alexandra Lord’s playful costumes, add to the magic.

Truly a musical for all ages, Rose has something for everyone—and, like the Lion Woman, you may even see yourself in our young hero. A name really does mean a lot. Say yours loud and proud!

Rose continues at the Young Centre until February 24; advance tickets available online or by calling the box office at 416-866-8666 or 1-888-898-1188.

ICYMI: Check out this Intermission Spotlight by Robert Cushman on Mike Ross.

And here’s the production teaser:

 

A photo album of family, love & memento mori in the profoundly moving, nostalgic, candid Dividing Lines/Líneas Divisorias

Beatriz Pizano & Julia (projected photo). Scenography by Trevor Schwellnus, with associate lighting designer Rebecca Vandevelde. Costume design by Andjelija Djuric. Photo by Jeremy Mimnagh.

 

“They say blood is thicker than water —
I say, love is thicker than blood.”

Aluna Theatre premieres Beatriz Pizano’s Dividing Lines/Líneas Divisorias, a photo album of family, love and memento mori; written and performed by Pizano, and created with director Trevor Schwellnus and composer/sound designer Brandon Miguel Valdivia, and running now at The Theatre Centre.

Losing her mother when she was a toddler, Pizano was adopted by her Aunt Julia and Uncle Jorge after her “Marlboro Man” father took off, leaving her and her two siblings behind—and a deep and lasting connection evolved with her new parents. Years later, after Pizano has moved to Canada, when an aged, widowed Julia drifts away in a lost, confused haze of dementia, she keeps her promise, returning home again and again to be with Julia during her “Calvary.” Weaving a personal history of distant and recent past—from her years growing up with Julia in Columbia to travelling back and forth from Canada during Julia’s final years, to and from hospital and nursing home; Pizano shifts from romantic nostalgia to harsh, heartbreaking life and death reality. And then, a chance meeting with a doctor at the nursing home—there to perform euthanasia on another patient—and an act of love, mercy and personal sacrifice to make a decision for a loved one who is unable to do so.

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Beatriz Pizano. Scenography by Trevor Schwellnus, with associate lighting designer Rebecca Vandevelde. Costume design by Andjelija Djuric. Photo by Jeremy Mimnagh.

Incorporating photographs and props, projected on a row of overlapping burlap legs that flare out and merge together on the floor, we see an evolving collage of life and family—from the broad strokes of wide-ranging world events to the God-is-in-the-details moments and wisdom of shared lives. The storytelling, relayed in English and sometimes Spanish, is visually rich; full of a lust for life, liberty and equality; and resonating with the music of childhood and the revolution—and, ultimately, with hope and closure. Pizano gives us a deeply personal, candid, raw and romantic—at times interactive—performance; balanced with a cheeky sense of irreverence where religion is concerned, and a revolutionary bohemian spirit when it comes to class and politics.

Part personal memory play, part confessional, part memorial, Dividing Lines/Líneas Divisorias reminds us that the one thing that’s certain in life—and we all have in common—is that we die. What would you do for a loved one who’s lost to the world, incapacitated and in pain—to set them free?

Dividing Lines/Líneas Divisorias is in its final week, closing on December 2. Advance tickets available online or by calling The Theatre Centre’s Box Office at 416-538-0988.

Check out this CBC piece on Dividing Lines/Líneas Divisorias, including Matt Galloway’s interview with Beatriz Pizano on Metro Morning.

The bittersweet rhythms of life in the wistful, nostalgic, entertaining Dancing at Lughnasa

Opening its 2018-19 season at Alumnae Theatre last night, the Toronto Irish Players take us to 1936 Donegal, and the rural home of the Mundy family as they struggle with life, love and changing times, in their wistful, nostalgic and entertaining production of Brian Friel’s Dancing at Lughnasa, directed by David Eden.

A bittersweet memory play, we’re hosted by narrator Michael (Enda Reilly), who was raised by his single mother, spirited, irreverent Christina (Lauren McGinty) and her four sisters. Their parents dead, the eldest resident sibling and local school teacher, the prim and proper Kate (Erin Jones) is the de facto matriarch; family clown Maggie (Rebecca De La Cour) looks after the small family farm; and the quiet Agnes (Donna O’Regan) and simple-minded Rose (Áine Donnelly) earn money by knitting gloves.

The return of their brother Father Jack (Ian McGarrett), sent home from his mission in Uganda by his superiors, both causes and coincides with significant changes in their lives and position in their home village of Ballybeg—especially lending truth to the rumour that Jack was dismissed for “going native” and adapting, in the eyes of the Catholic Church, a too familiar and accepting attitude of local custom and ritual. Industrialization is catching up with rural Ireland, and factory-made goods are putting handwork at risk. Ongoing, if not sporadic, visits from Michael’s father Gerry (Sean Gilheany), a Welsh wanderer turned gramophone salesman, give the family—especially Christina and Michael—rare and welcome glimpses of the possibility of hope for something better; and a brief respite from the dullness of their workaday lives and the stresses of making ends meet during the Depression.

The family’s individual and collective history is both merry and melancholy; and lives are forever changed by forces largely beyond their control. And while Michael acknowledges the hard times of struggle, sacrifice and loss, he takes heart from the good times the family shared together—the love, laughter and dancing around the Marconi wireless. The rhythms of life, love and changing times.

Lovely work from the cast in creating this intimate family story. Reilly’s Michael makes for an affable and animated host; and he’s especially adept at conjuring the wide-eyed, precocious and imaginative child Michael. De La Cour is a treat as the feisty jokester Maggie; using humour to cheer and diffuse tension, her glass-half-full perspective is also crucial to her own survival. O’Regan and Donnelly have a beautiful rapport as the BFF sisters, the unassuming, protective Agnes and the child-like, naive Rose, who both come to show there’s more than meets the eye when it comes to notions of romance. McGinty gives a well-rounded performance as the conflicted young mother Christina; the family beauty, and raising the love child of a man she hardly ever sees, Christina’s youth has been interrupted by the more pragmatic concerns of a single mother—and in a time and place that frowned upon women like her. In classic Irish matriarch fashion, Jones’s Kate says as much with a look or gesture as she does with a word; having missed on romance herself, Kate’s stern disposition also a masks a broken heart.

McGarrett gives a poignant performance as the sisters’ brother Father Jack; once the golden boy of the family and the village, Jack has returned, frail and barely recognizable, and hardly knowing his own hometown. And Gilheany gives a charming turn as Gerry; a man of the road who loves to love, Gerry means well, but has trouble with the follow-up.

With shouts to the design team for their evocative work in transporting us to this nostalgic Depression-era world of memory and family in rural Donegal, Ireland: Chandos Ross (set), Livia Pravato (costumes), Karlos Griffith (lighting) and Dan Schaumann (sound).

Dancing at Lughnasa continues on the Alumnae Theatre Mainstage until November 3; advance tickets available online or by calling 416-440-2888. Keep up with The Irish Players on Facebook and Twitter.

Love, sacrifice & the heartbeat of time in the delightful, poignant Sisters

Laura Condlln & Nicole Power. Set design by Michelle Tracey. Costume design by Erika Connor. Lighting design by Kimberley Purtell. Photo by Cylla von Tiedemann.

 

Soulpepper opened its striking world premiere of Rosamund Small’s delightful, poignant Sisters—a story of love, family, sacrifices and the march of time—to an enthusiastic full house last night. Inspired by Edith Wharton’s novella Bunner Sisters and directed by Peter Pasyk, Sisters is running in the Michael Young Theatre at the Young Centre.

It’s the turn of the century in New York City, and sisters Ann (Laura Condlln) and Evelina (Nicole Power) live quiet, regular lives, working and living in a small shop, selling notions and jams, and providing sewing services. Both are single at an age that would label them as spinsters; and their small, humdrum workaday lives get a spark of excitement when Ann buys a clock for Evelina’s birthday—and both become enamoured with the quiet, charming clockmaker Ramy (Kevin Bundy). Adding to the fun is their observant friend and neighbour, Mrs. Mellins (Karen Robinson), a widowed dressmaker who lives upstairs.

Torn between her feelings for Ramy and love for her sister, Ann steps aside to make room for a match between Ramy and Evelina—a decision made all the more heart-wrenching when Ramy takes a job in St. Louis, taking his new wife with him and leaving Ann to run the shop alone. Dependant on return customers and referrals from more privileged ladies—like the affable Lady with the Puffy Sleeves (Ellora Patnaik) and the wealthy, entitled Customer (Raquel Duffy)—Ann and Mrs. Mellins are also facing a new wave of industrialization; one in which much of the textile industry will be mechanized, with factories churning out large amounts of pre-made, less expensive off-the-rack goods. Dealing with the separation as best as she can, when Evelina’s letters stop coming and her letters come back return-to-sender, Ann sets on a search for Evelina’s whereabouts; and with the help of Mrs. Mellins, gathers some troubling information about Ramy in the process.

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Karen Robinson, Laura Condlln & Nicole Power. Set design by Michelle Tracey. Costume design by Erika Connor. Lighting design by Kimberley Purtell. Photo by Cylla von Tiedemann.

Lovely work from the cast in this tale of everyday heroism and perseverance in the face of longing, heartbreak and loyalty. Condlln is heartbreaking and inspiring as the older sister Ann; practical and better with the accounts than she is with the creative side of the business, Ann puts her own desire for romance aside to make her sister happy. Power (who Kim’s Convenience fans will recognize as Jung’s quirky boss Shannon) is a day-dreamy spitfire as younger sister Evelina; bored and skeptical that things will get better, Evelina is more pessimistic than her sister—but is able to see colours in music and match the perfect accessories to a dress. Robinson (who Schitt’s Creek fans will recognize as Ronnie Lee) is a treat as Mrs. Mellins, performing with gusto and impeccable comic timing; while she has a morbid fascination in the seedier side of the city, Mrs. Mellins’ penny dreadful notions of life outside the shop make way for sage advice and motherly watchfulness over the sisters. And Bundy seduces as the reserved, gallant German clockmaker; shy, sickly and precise, Ramy is a mystery man of changeable temperament—which perhaps makes him all the more attractive.

The perspectival, display case-like set with a raked floor (Michelle Tracey), atmospheric lighting (Kimberly Purtell), stunning period costumes (Erika Connor) and haunting music box music (Richard Feren) make for an aesthetically pleasing, finely honed view of this world.

Sisters reminds us of the precarity of life for working women; reliant on men and those who are better off in general to make something of their lives. And of the saving grace of love, hope, faith and determination—with a little help from family and friends.

Sisters continues at the Young Centre until September 16. Get advance tickets online or call the box office: 416-866-8666 or 1-888-898-1188.

Toronto Fringe: Calling out manipulative sales in the quirky, edgy, razor sharp Everyone Wants A T-Shirt!

Brittany Miranda, John Wamsley, Charlin McIsaac & Madeleine Brown. Photo by Graham Isador.

 

Has a slogan or statement on a product ever made you want to change your life?

Prairie Fire, Please explores the impact of—and calls bullshit on—corporate manipulation of our heart strings in Madeleine Brown’s Everyone Wants A T-Shirt! Directed by Aaron Jan, assisted by Anthony Tran, the satirical, thought-provoking piece is running in the Theatre Passe Muraille (TPM) Backspace for Toronto Fringe.

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.

Interview: Director Amanda Smith

Amanda Smith. Photo by Dahlia Katz.

 

Tafelmusik Baroque Orchestra will present the fourth installment of its Haus Musik series on April 26 at the Great Hall, directed by Amanda Smith. Topping Ludwig van Toronto’s 2017 list of breakthrough women in the local classical music scene, Smith is known for her multidisciplinary collaborations with actors, singers, DJs, instrumentalists, visual artists and filmmakers—creating dramatic and remarkable classical music performances that translate the music into the physical world. Smith recently directed Belladonna – a queer techno opera, produced by her company Fawn Chamber Creative.

This upcoming performance of Haus Musik takes us to a post-apocalyptic world, with Tafelmusik performing live in a bunker, where survivor Alex (Ally Smither) has taken shelter. Alex’s only connection to the outside world—and her only source of hope—is the radio and music.

I interviewed Smith, asking her about this upcoming iteration of Haus Musik, as well as her drive to create multidisciplinary classical music experiences.

With this fourth installment of Tafelmusik’s Haus Musik series, you’re exploring political extremes and isolation—timely themes in these turbulent times. In a world on the brink of apocalypse, radio becomes a life line and music a source of comfort. What can you tell us about the genesis of this project?

Truth be told, I thought of it while lying on my bed and listening to CBC Radio. They were talking about tensions between the United States and North Korea, so my thoughts naturally jumped to the worst case scenario. Mostly, I was wondering how it would be possible to maintain mental resiliency in addition to physical safety—they go hand-in-hand, but we so often forget about our psychological needs. I remembered that UK radio stations have a thing called the ‘obit procedure’, which calls for specifically chosen music to be played in the event of a national disaster. This got me thinking about the role of the radio as a primary source of public information during a disaster, and thought about how interesting it is that music is a decided method of keeping the public united and calm. I thought that the music selected for the upcoming Haus Musik had the kind of uplifting, hopeful sound that would be helpful in keeping people going during a moment of darkness.

You’re collaborating with synth artist ACOTE, and including the works of 18th century classical composers (Mozart, Vanhal and Boccherini), as well as James Rolfe’s Oboe Quartet. How did these musical flavours come together for you for this project?

The classical music in the program was selected by the Tafelmusik team. With this program, I’ve created a narrative arc that will be interpreted and driven forward by ACOTE’s electronic music. I have worked with ACOTE fairly regularly over the past couple years and love his musical sensitivity when collaborating with classical music. He manages to always find a cohesion between the different styles of music that also puts us in the dramatic world I’m looking to create.

In addition to including various takes on classical repertoire, you also incorporate acting and dance into your work. What drew you to creating these multidisciplinary pieces?

My relationship with music has always been very visual. This was apparent while studying music in my undergrad, when I began to seek out platforms that allowed me to physicalize music in different ways. This just seems to be the way I connect with music. I like to work with artists from different industries, such as dance, visual art, experimental electronic music, film, etc., because they bring new perspectives and wonderful ideas. I think it’s a lot harder to grow if you remain exclusive to one way of thinking.

What do you hope audiences will take away from the experience of this performance of Haus Musik?

Simply, I would love for audiences to leave with the message that art serves an important role in our society. Not only is it a source of personal and cultural expression, but it’s often used to keep people united, especially music. When there seems so much wrong in the world, it’s easy for artists and the public to doubt the value of creative work—I think about this quite often. It’s good to remember that sometimes singing a song with your community is what keeps people fighting and pushing forward.

Now, for the fun part of the interview. I’d like to finish up with James Lipton’s Pivot questionnaire:

What’s your favourite word? I don’t have a favourite but the first word that came to mind was cuddle.

What’s your least favourite word? Slut—such poison to hear and say.

What turns you on? Good dancing.

What turns you off? Narcissism.

What sound or noise do you love? My cats purring.

What sound or noise do you hate? Open mouth chewing sounds.

What is your favourite curse word? Fuck.

What profession other than your own would you like to pursue? Literally, nothing.

What profession would you not like to do? Performer.

If Heaven exists, what would you like to hear God say when you arrive at the Pearly Gates? “Your family and friend are here.”

Before we go, anything you’d like to add or shout out?

Only that I’m looking forward to the show on April 26th. I think it’s going to be a really unique experience.

 

Haus Musik runs for one night only: April 26 in Longboat Hall at the Great Hall; doors at 8 pm. Get advance tickets online.