Chelsea Riesz, Lisa Alves, Courtney Lamanna, Joella Crichton, Mercy Cherian & Cathy Huang—rehearsal photo courtesy of Jenna Borsato
HERstory Counts opened its second season at Red Sandcastle Theatre last night with Love Between the Lines, written and performed by the ensemble, and directed by Co-Artistic Producer/Co-Artistic Director Jennifer Neales, assisted by Ellie Posadas, with dramaturgy by Co-Artistic Producer/Co-Artistic Director Evangelia Kambites.
For those of you not familiar with HERstory Counts, it’s a company that produces “true stories, performed by the creators themselves, offering a space to challenge and push past the ideals of the status quo. We feature and celebrate female-identified womyn of all backgrounds, all ages, all races, all histories, all sizes, all sexual orientations, and all abilities.”
Featuring autobiographical storytelling from six writer/performers, Love Between the Lines is an examination of love in its various forms and incarnations, each story weaving seamlessly in and out of the other. Joella Crichton’s exploration of the stages of grief following a break-up; Chelsea Riesz discovering sins of the father in her relationship dynamics; Cathy Huang’s love letter to a kindred spirit grandmother; Lisa Alves navigating identity and the complicated, close-knit ties with her mother; Courtney Lamanna connecting the dots as she recognizes and strives to break the cycle of abusive relationships; and Mindy Kaling doppelganger Mercy Cherian’s undying love for a dying, ever protective father.
Told with vulnerability, humour and courage, the storytelling is up close and personal—candidly revealing all the maddening, heartbreaking, messy struggle, comfort and elation of these relationships. Incorporating memory, personal insight and even confession, each actor plays out her truth on a bare stage; her story animated by the other actors, who deftly transform into parents, lovers, inner selves, a tarot card reader and even—most hilariously—goofy, fiercely protective street dogs in India. These stories move you to laughter, tears and even maybe your own a-ha moment. These stories resonate.
With shouts to Stage Manager Mariah Ventura, Creative/Production Assistant Robin Luckwaldt and Production Manager Jenna Borsato for their work on this production.
Love in all its complex, messy, glorious forms in Love Between the Lines.
Love Between the Lines continues at Red Sandcastle, with performances tonight, Saturday and Sunday night at 7:30pm, and a 2:30pm matinee on Sunday. Get your advance tickets online or purchase at the door half an hour before show time. Advance booking recommended; it’s an intimate space and last night’s opening was a packed house.
This production has already been garnering some well-deserved buzz. Not only does Prince Hamlet make the Shakespeare classic accessible for Deaf audiences, it addresses issues of diversity and inclusion in casting, particularly for the largely white, male, Eurocentric, and hearing, classics. Jain’s text adeptly shifts scenes (Horatio’s speech to Fortinbras, usually seen at the end of the play, is used as an introduction, with Horatio addressing the audience), and effectively interweaves scenes of action with those of corresponding exposition (Horatio and the guards encountering/reporting of the ghost, as well as moments/reports of Hamlet’s erratic behaviour) in an engaging and theatrical way. We also see scenes from different perspectives—and it’s all performed by an outstanding ensemble of actors, with female actors taking on a number of male roles and a male actor playing Ophelia.
The program provides a handy synopsis of the play, which I will not replay here; if you need a refresher or you’re new to Hamlet, you can also check out the Wikipedia page. What is remarkable about this production is that Horatio (played by Deaf actor Dawn Jani Birley) is featured prominently; our narrator, he is both witness to and interpreter of (signing much of the text) Hamlet’s (Christine Horne) story. ASL is incorporated into the dialogue in a seamless, inclusive way that reveals relationships, in that Horatio is understood by Hamlet when he signs, and Hamlet communicates with him in both English and ASL. In many respects, the story is told from Horatio’s point of view—culminating in that fateful final scene where the dead outnumber the living and, one of the few still standing, Horatio bids a tearful farewell to his friend.
Joining Birley and Horne for this journey of revenge, reflections on mortality and tragedy are Miriam Fernandes (Rosencrantz, Player King, Gravedigger), Jeff Ho (Ophelia), Hannah Miller (Guildenstern, Player Queen), Rick Roberts (Claudius), Khadijah Roberts-Abdullah (Laertes), Karen Robinson (Gertrude) and Maria Vacratsis (Polonius); all actors play their respective characters as originally written and all introduce themselves in ASL at the top of the show. These are actors playing characters, and regardless of gender casting, each brings a grounded, genuine and unique interpretation of the person they’re playing. And this cast looks like the people we see every day in our city.
Horne gives us a compelling and moving Hamlet, bringing a fragile edge to his melancholy, countered by a sharp, wry sense of humour. This adaptation has Horne also playing the ghost of Hamlet’s father, an interesting choice that evokes dark moments of possession. A bashful and cheeky romantic in love with Ophelia, playful and candid with his bosom friend Horatio, and poetic in his philosophical inner debates on revenge and mortality, this is a Hamlet for the 21st century.
Birley’s complex, conflicted Horatio is both a part of and witness to the tragedy that unfolds. Also acting as our host and guide, Horatio signs his dialogue and translates the text into ASL throughout, including some brilliant comic relief during one of Hamlet’s encounters with Rosencrantz and Guildenstern. She gives a gripping interpretation of the fight scene between Hamlet and Laertes, and her “Goodnight, sweet Prince” is both beautiful and heart-breaking.
As Gertrude, Robinson brings a sharply drawn evolution to the relationship with Claudius, from giddy in love to devastated and horrified. Concerned for the welfare her son throughout, Gertrude finds herself faced with a choice between her new husband and her son. Roberts gives us a big, lusty Claudius; living the dream until he’s called out by Hamlet’s carefully crafted play presentation. In a moving and tortured prayer scene, dejected and unable to repent, Claudius realizes he’s unwilling to give up the spoils of his crime, resorting to further treachery and cover-ups.
Ho is lovely as the playful, but delicate Ophelia, whose descent into madness is both heartbreaking and disturbing. Vacratsis is hilariously wordy and sharply academic as Polonius; decidedly not a man of few words, he nevertheless has wisdom to impart, as evidenced in his famous advice to Laertes. And Roberts-Abdullah gives Laertes a fierce edge under that affable, good son exterior; belly full of fire, he’s hell-bent on revenge for his father and sister, but never loses his sense of fairness.
Fernandes and Miller do a great job juggling multiple roles; Fernandes is great fun as the impudent, philosophical Gravedigger and Miller brings a sense of sass to Hamlet’s pal Guildenstern.
With big shouts to the design team for their rich, evocative work on this production: Lorenzo Savoini (set and costumes), André du Toit (lighting) and Thomas Ryder Payne (sound).
Hamlet as you’ve never seen it in the haunting, beautiful ASL/English adaptation Prince Hamlet.
Shifting back and forth between Mata Hari’s final hours in prison in 1917 and a university course on ‘Women Screwed Over by History’ in 2016, we see the famous erotic performer and accused spy from several points of view, both past and present.
On her last day in prison, Mata Hari’s (Kimwun Perehinec) is introduced to cellmate Hélène (Lisa Karen Cox), a young French-Senegalese woman in for prostitution who has been moved from another cell block. Instructed by Sister Leonide (Paula Wing) to keep Mata Hari occupied, Hélène knows that this section of the prison is for doomed prisoners. During Mata Hari’s final hours before execution, of which she is unaware, a young prison guard (Jeff Lillico) attempts to satisfy his curiosity about his celebrity prisoner as he takes her for a stroll in the prison grounds. After a failed attempt at converting Mata Hari, a professed Hindu, to Catholicism, Sister Leonide has a genuine heart-to-heart chat. In 2016, as university professor Christopher Locke (David Christo) prepares a lecture about Mata Hari, he gets into a heated debate with a black female student (Cox as Karen Sinclair) over the meaning of feminism and how it relates to Mata Hari.
The sharp, darkly funny and thought-provoking script is well-matched by an excellent cast. Perehinec does a lovely job with the resourceful and unapologetic Mata Hari (the stage name chose by Margaretha Geertruida “Margreet” MacLeod); mining the vulnerability, celebrity entitlement, cultural appropriation and buried memories of a woman who change her name and her life, she reveals the abused wife, loving mother and sexually liberated woman behind the stage name. Famous and infamous for her erotic performances, we see a woman who loves sex and longs to be loved; and who will do what she needs to do in order to survive. Cox is an excellent foil and debater, to Mata Hari (as Hélène) and to Locke (as Karen); fearlessly challenging and questioning preconceived notions with intelligence and edgy humour, tempered with a good-natured personality and a strong desire to have a real dialogue about the issues. Christo brings an easy-going, cool vibe to the forward-thinking, self-professed feminist Locke; he’s genuinely interested in women’s and minority rights, but struggles with a modern marriage arrangement that may be working against his interests, as well as present-day, budget and diversity-conscious hiring practices.
Wing is a delight as the feisty and commanding Sister Leonide; wily and worldlier than she appears, she has a kind heart beneath that take-charge exterior, as evidenced in a lovely two-hander scene with Perehinec. Lillico (a late addition to the cast when Christo suffered a cycling accident that impaired his mobility) does an excellent job with the young guard’s conflicting feelings about Mata Hari; both curious about and furious with her, an apparent crush takes a turn as he reveals his own heartache and loss.
No one is as they seem; and each character challenges our biases and preconceived notions of their social roles and life experiences. This is a play that will make you think about, as well as question, what you believe about gender, race, white privilege, inclusion, economics and power.
With shouts to set/costume designer Melanie McNeill for the opulent and exotic touches to an otherwise drab and Spartan prison setting.
Debating feminism, equality and privilege in the provocative, smart, sharply funny Don’t Talk to Me Like I’m Your Wife.
Don’t Talk to Me Like I’m Your Wife continues at the Theatre Centre Mainspace until Aug 14. Go see #thematahariplay
Actor/Artistic Producer Jennifer Neales has assembled a company of talented creators, producers and mentors to create an exciting new theatre project, set to premiere at Red Sandcastle Theatre April 22-24. #HERstoryCounts is an indie Canadian production, presenting a series of autobiographical monologues that bring to life personal stories of “endurance, strength, loss, survival, and love that push the boundaries of what is often expected of womyn on stage. . . Real stories told from each of our different perspectives.” I asked Neales about the project and the team behind it.
LWMC: Hey, Jennifer – thanks for taking some time out to talk about #HERstoryCounts. What can you tell us about the genesis and inspiration for this project?
JN: It’s such a pleasure for me to talk about #HERstoryCounts. It is absolutely my most favourite project to date. The project began to take form at the end of 2015. I had just come back from tour as an actor in trey anthony’s play ‘da Kink in My Hair: Girls in Red Lipstick Tour, which taught me about standing in my truth even in the face of adversity, and trey, her partner Janet, and I went to see an incredible piece of theatre called Nirbhaya #endthesilence curated by Nightwood Theatre. This piece of theatre sparked in me something that I didn’t know was there. It ignited a fire in my belly so hot that I had to create something. #endthesilence. Wow. Womyn’s voices are still being silenced all over the world. Here. In Toronto. In our families. Within our educational system. In judicial institutions. EVERYWHERE.
In the middle of January, Matthew Jocelyn announced the 2016-17 season for The Canadian Stage and there was not one person at the creation level (creators, writers, directors) who identified as a person of colour. And, the response to the outrage that so many of us felt was that they would be “casting diversely.” For myself, and so many other theatre artists, that was no longer good enough. What we REALLY need is diversity of perspective. That’s when I knew my production would be #HERstoryCounts. Our inaugural production features womyn from all different backgrounds writing their own stories. Real stories from lived experiences.
LWMC: And what made you decide to choose a monologue format?
JN: I chose to use a series of monologues because in this way, each of the womyn, who are all so wonderfully different, could tell their own stories. I wanted this production to be more than just one voice, to have more than just one writer.
LWMC: You have an impressive group of creators, producers and mentors for the launch of this project. Who’s onboard with you – and how did they become involved?
JN: I am so grateful to every single womyn who is on board with #HERstoryCounts. Creating their own work is Evangelia Kambites, Susan A. Lock, Sundance Nagrial, Janet Romero-Leiva, Tennille Read, Ordena Stephens-Thompson and Kelly Wilk. I have worked with or have seen these womyn on stage, and have always been impressed with their talent and their commitment to telling the story in front of them. I personally asked for these womyn. The mentors I have on board are trey anthony, who has hired me on a number of occasions to act in her shows in Toronto and on tour, and is a very dear friend; Anusree Roy, whose work has always inspired and excited me, and someone who has always been so kind to me; and finally, Melanie Hrymak, (also a creative over-seer) who I have worked with only once before, but whose work I have followed since that time, and someone I consider a friend. My Stage Manager and fellow artistic over-seer is the accomplished Franny McCabe-Bennett, my Assistant Stage Manager and Assistant Producer is the fabulous Jenna Borsato, and my last artistic over-seer is Melissa Major, an accomplished playwright, theatre company owner, and performer.
LWMC: #HERstoryCounts gets its inaugural production April 22-24 at Red Sandcastle Theatre. Is this going to be the first of many such productions?
JN: Yes, I see #HERstoryCounts as a movement. Here in Toronto, all over Canada, and hopefully on tour internationally. My goal is to have different voices on stage, different perspectives on stage for each production.
JN: YES!!! Word-of-mouth is how most things get done, and for #HERstoryCounts it is no different! Spread the word! I would be so honoured if people would share the link with their networks – reach out to anyone and everyone who has any sort of pull and knows the worth of supporting womyn in theatre.
LWMC: Anything else you’d like to shout out?
JN: I would like to give a massive shout out to screen-writer, director and producer Kate Johnston, who offered her assistance in preparation for the Indiegogo Campaign video pitch script. I would also like to acknowledge my amazing friend and digital producer Meg Norton, who made the filming and editing that much easier by offering her advice and know-how.
Finally, I want to say thank you to each of the incredibly brave and astounding womyn working on this project with me. Their courage and enthusiasm has caused such beautiful things to happen already. This is not a show you want to miss. These are womyn everyone should know, and work with.
LWMC: I’d like to finish with James Lipton’s Pivot questionnaire. What’s your favourite word?
JN: Bugger-face (my wife is British 🙂 )
LWMC: What’s your least favourite word?
JN: The mispronunciation of supposedly – “suposably”
LWMC: What turns you on?
JN: My wife. 😛
LWMC: What turns you off?
JN: Accepted ignorance.
LWMC: What sound or noise do you love?
JN: The two gentlemen playing the violin and the accordion so often at Yonge and Bloor station.
LWMC: What sound or noise do you hate?
JN: Metal scraping across flooring.
LWMC: What is your favourite curse word?
LWMC: What profession other than your own would you like to pursue?
JN: Professional horseback rider.
LWMC: What profession would you not like to do?
JN: Any profession where you have to carry/use weapons.
LWMC: If Heaven exists, what would you like to hear God say when you arrive at the Pearly Gates?
JN: You did good, girl.
LWMC: Thanks, Jennifer. All the best with #HERstoryCounts. Look forward to seeing it at Red Sandcastle.
JN: Thank you so much!
Keep an eye out for #HERstoryCounts at Red Sandcastle Theatre (Apr 22-24); in the meantime, give the project a like on Facebook.