As promised, I’ve got some news, including an accompanying Spring hiatus for the blog…
Back in January, I was invited to join the cast of an indie production of The Sad Blisters, a new play by Andrew Batten, directed by Victoria Shepherd. It’s a quirky, funny, poignant family dramedy with an all-female cast—so, of course, I loved the script immediately. Our first read-through is tomorrow!
It’s been almost 11 years since I performed in a theatre production (Wit at Alumnae Theatre); I’ve done staged readings, stand-up and singing performances in the meantime, as well as seeing/reviewing a lot of theatre. So I’m very excited to be returning to the stage—and working with this team!
Since we’ll be rehearsing and performing on weeknights and weekends, I’ll be putting the blog on a two-month hiatus for March and April so I can focus time and energy on the play. I’ll still be seeing a few shows—and shouting out shows on social media—just not reviewing or interviewing.
The Sad Blisters runs April 12-27 at The Commons—so save the dates! Stay tuned to Facebook, Twitter, etc. for details, including performance dates/times and advance ticket purchase info. I’ll be posting info here on the blog as well.
Featuring four short, new plays, the production provided some interesting instructions to playwrights: they were to use selected lines of dialogue – submitted by the public (almost 300 submissions) – as the opening and closing lines of their plays (with the closing line of one play also serving as the opening line of the next play). The four selected lines were:
“Subtlety is not your specialty.” “What’s Bulgarian for slut?” “I think it’s time we talked about your filthy rituals.” “I fucking hate potatoes.”
Throw in the tagline: Sex. Death. Bananas. and, along with the cyclical structure – a round robin of short plays that literally play off of each other, one tagging another – and there’s the title of the production.
Dust Peddling: Part II (Soup Can Theatre), by Scott Dermody and directed by Joanne Williams. Have you ever had an orgasm? A bed. A man. A woman. Erotic and poetic, physical theatre meets verse and prose in this beautifully edgy and lyrical hybrid piece, where the words are dialogue, foreplay and more. Lovely, candid work from actors Dermody and Lisa Hamalainen.
Sex and This (Aim for the Tangent Theatre), by Wesley J. Colford and directed by Jakob Ehman. What the actual fuck?! Two energetic young urban women getting ready for a themed costume party at a friend’s house are interrupted by some dire news. Facebook and text-reliant Millennials deal with communicating loss. Darkly funny, poignant and truthful performances from Tiffany Deobald and Carys Lewis.
Maypole Rose (safeword), written and directed by Brandon Crone. Two fags, a potent fatty and a bag of junk food. A young married, health-conscious gay couple indulge in stoned monkey lovin’ and junk food consumption. A frank fly-on-the-wall look at a relationship – workaday inanity, bedroom rituals, gender roles, secrets and all. Sexy, raw, tender and funny, with fabulous and honest performances from Alexander Plouffe and G. Kyle Shields.
The Session (Soup Can Theatre), written and directed by Justin Haigh. When under extreme pressure, everyone has his/her breaking point. A workplace counselling session goes to some very dark places as the plant therapist (Matt Pilipiak) and nuclear safety expert (Allan Michael Brunet) work through their introductory meeting. Brunet and Pilipiak do a remarkable job with the back and forth of power/control and vulnerability/fragility, as well as the dramatic tension and dark humour of the piece.
Circle Jerk also features live music inspired by the four lines of dialogue: Subtlety is not Your Specialty by Marla Kishimoto, What’s Bulgarian for Slut by Soup Can Theatre’s Music Director, Pratik Gandhi, I Think it’s Time We Talked About Your Filthy Rituals by Peter Cavell, and I Fucking Hate Potatoes by Patricia Stevens. Directed by Gandhi, the five-piece mini-orchestra includes an upright bass, cello, clarinet, flute and keyboard. The pool of musicians includes Katie Saunoris, Subrina Sookram, Ainsley Lawson, Rachel Gauntlett, Cory Latkovich, Matteo Ferrero-Wong, Brandon Sked and Susan Kim. Lighting on intense, whimsical and cultural flavour – from a piece featuring a hilariously bad (on purpose), yet passionate, clarinet solo to a jolly Irish-inspired tune that turns into a meltdown – the music mirrored and enhanced the theatrical content perfectly.
Sometimes a banana isn’t just a banana. Circle Jerk is a raw, real, darkly funny and socially astute set of short new plays, combining a trio of fine local indie theatre companies with crowd-sourced creativity and multidisciplinary talent. So get yourself out to lemonTree studio and go see this.
Circle Jerk continues its run at lemonTree studio tonight (Nov 15) and tomorrow (Nov 16), and this coming week from Nov 21 – 23; all performances at 8 p.m.
The audience assembles in Dragon Alley, near the northwest corner of College and Dufferin. Soon, Eunice (Jasmine Bowen) appears bearing a stainless steel bowl, a sign that says $10 and another asking for spare change – the spare change she requests of us is the ticket price. Stella (Mackenzie Gruer) appears, and soon Stanley (Luke Gallo) and his pals Mitch (Alex Strauss) and Steve (Erik Kovalevskyy) stroll by, on their way to the bowling alley around the corner. Stella joins them. Soon, a well-dressed and lost-looking woman appears, toting a suitcase and desperately searching for information on her cellphone. This is Blanche (Lynne Rafter), just arrived in the Quarter to stay with Stella. Eunice offers assistance and beckons Blanche up the fire escape to the top floor apartment. The audience is instructed to follow – and watch our heads as we head up the steel steps. We assemble in the kitchen/living area of the apartment and Eunice leaves Blanche to go fetch Stella.
And thus begins a modern-day version of Streetcar, a punk rock tragedy that features a different live band at every performance. In this case, it’s the newly formed duo Lightning with Legs, acting as Stanley’s band/jam buddies. Given the intimate space – it’s a real apartment and can accommodate 20 patrons – this is Streetcar in extreme close-up. All the desire, brutality and personal tragedy are writ large and performed only a few feet – and, in some cases, inches – away.
The original script’s story of family dysfunction, personal scandal and financial ruin, steeped in brutality, alcoholism, desperation and desire, translates well into present day. It is easy to see how Blanche and Stella’s family home could fall prey to family circumstance and economic recession. The modern references to scandal, involving Blanche’s personal conduct and psychological damage, are nicely drawn with rumours of her questionable relationship with a student and moments where she finds herself haunted by the music that was playing when her first love/young husband died, a psychological ear worm that wreaks havoc on her already fragile psyche. Also notable is the fact that not much has changed regarding the double standard of the sexual dynamic between men and women: men are on the offensive, with women obliged to be on defence. Blanche breaks the rules with her aggressive flirting and scandalous past. And, even though such terms did not exist in the time of the original script, slut-shaming figures prominently in the climax of the play – and the sickening result of he said/she said skepticism and denial is that the victim is branded crazy and mistaken, or even worse lying.
The cast does an excellent job of bringing to life the colliding worlds of old-time rural chivalry and romance, and modern-day urban brutality with its unleashed primal urges. Rafter is heart-breaking as Blanche, vulnerably majestic and falling apart before our eyes. Gallo’s Stanley is a brooding caged animal, brutally sensitive and ready to pounce; and Gruer brings a lovely battered strength to Stella, a young woman caught between two forceful and passionate personalities, all the while navigating her own fears and desires. Strauss’s Mitch has a nice sense of internal conflict, unflinchingly loyal to his gravely ill mother and rowdy friends, and grappling with loneliness and longing to have a family of his own. Very strong supporting work from Bowen and Kovalevskyy as friends/downstairs neighbours Eunice and Steve, as well as Joe Bumbacco (Paper Boy), Peter Campbell (Doctor) and Anastasia LeSage (Nurse). And, if you’re lucky, the adorable house cat will also make an ad lib appearance, as it did toward the end of this performance.
A Streetcar Named Desire – The House Show continues for two more weeks – Thursday through Saturday at 8 p.m. – until October 6. Seating is limited and it was a full house last night, so best to get yourself to Dragon Alley early.