SummerWorks: Pick-up artistry meets consent culture in the hilarious, disturbing, eye-opening Safe and Sorry

Lauren Gillis. Photo by Peter Demas.

 

Lester Trips Theatre presents a provocative multimedia workshop production of the hilarious, disturbing, eye-opening Safe and Sorry. Co-created and performed by Lauren Gillis and Alaine Hutton, co-performed and choreographed by Angela Blumberg, and directed by Chelsea Dab Hilke, we’re invited into the world of Keith Much, who leads workshops aimed at helping men with their dating and pick-up game. His process, a combination of pick-up artistry and consent culture, amasses a lot of fans; it also finds detractors—and Keith begins to see the darker side of male desire as he reads the comments on his message board. Safe and Sorry had its second performance in the Franco Boni Theatre at The Theatre Centre last night.

The audience becomes part of a Keith Much (Lauren Gillis) dating workshop, where our affable facilitator mixes up quick lecture bites with Q&A and one-on-one sessions on stage with a variety of participants (Alaine Hutton)—from overly enthusiastic bro’s like Mike to painfully shy dudes like Stu. His unorthodox methods make for hilarious, but instructive moments, as he teaches men about respectful approaches, consent, body language, verbal and non-verbal cues, personal hygiene and kissing.

Keith’s helpful and progressive teachings aim to make sure that both the man and woman are having good, safe, sexy fun times; but as his popularity grows and his message board gets more traffic, so too do the darker responses from the toxic masculinity side of the straight male spectrum. And he comes face to face with the dark side when an aggressive, frustrated participant disrupts a workshop Q&A, forcing him to call a break have a sit-down with the guy. This man wants to find a wife, settle down and have a family, but finds women only want to party and will dump a good guy like him for the next best thing. Angered and entitled, he believed that his excellent socioeconomic status would make a difference, but it isn’t; and he eventually identifies as incel. The toxic responses online begin to turn on Keith, as some of these men begin to question his credibility.

In between workshop scenes, we see a trailer for a movie (film design by Peter Demas, with lighting and video design by Wesley McKenzie, nicely supported by Steven Conway’s music arrangement/performance) in which four men (played by Gillis and Hutton), unknown to each other, have been abducted and chained up in a concrete bunker. As they try to figure out why they’ve been taken, they realize what they each have in common: they’ve all committed rape—and the psychological thriller scenario implies that a woman (or group of women) is out for revenge. And while the men in the trailer are forced to confront what they’ve done, women are placed in the position of being a threat, the enemy—this becomes a parallel of sorts to the dark side views that Keith sees emerging in his message board comments.

Excellent work from Gillis and Hutton in this multimedia, multi-layered trip into the male psyche from a consent culture perspective. Gillis is amiable, warm and confident as Keith; knowledgeable, professional and helpful, Keith creates a safe, supportive environment for men to share their issues, work out problems and improve their dating game. Hutton’s multi-tasking role as the various workshop participants ranges from the hilarious and goofy, to the extremely awkward and shy, to the everyday, to the angry, entitled and menacing. The movie trailer adds an interesting level to this exploration of male desire and toxic masculinity, but it’s the interaction between Keith and the men, especially the incel guy, that makes for the most powerful and compelling moments. Looking forward to seeing the evolution of this timely, thought-provoking piece; part two of Safe and Sorry is coming Spring 2020.

Safe & Sorry has one more performance in the Franco Boni Theatre at the Theatre Centre: August 16 at 5:00 p.m. Tickets available online or in person at the box office; it’s a very short three-show run, so advance booking or early arrival at the venue is recommended.

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Toronto Fringe: Storytelling meets TED Talk in the fight for social justice in the sharply funny, frank, eye-opening Monica vs. the Internet  

Monica Ogden. Photo by Sortome Photography.

 

Rage Sweater Productions presents Monica Ogden’s sharply funny, frank, eye-opening Monica vs. the Internet: Tales of a Social Justice Warrior, directed by KP Productions and running in the Tarragon Theatre Solo Room. Storytelling meets TED Talk as shared lived experience and knowledge come together for this look at activism in the digital world, as Ogden addresses mixed-race identity, racism and white supremacy/feminism.

A self-described light-skinned, cis gender Filipina woman coming to terms with a family history that includes both colonizer and colonized, Monica Ogden navigates both the privilege and the oppression she experiences every day. Her multi-generational lived experience of racism (including accusations of not being “Asian enough” to mention it), disability, mental health issues and abuse informed her path from student at a racist theatre school to YouTube series host on Fistful of Feminism and social justice warrior.

Part personal history tour, part TED Talk, the multimedia solo show incorporates projected images—from sweet, sometimes funny, family and personal photos to shocking, racist tweets from trolls—as Ogden shares personal and family history and lived experience, both good and bad. The inspiration and love she receives from her mother and grandmother, whose shoulders she stands on; and the in-person and cyber bullying from Twitter trolls, and even a theatre reviewer at a Fringe festival, about her race (sometimes perceived/misread) and appearance. And she schools many of us, with patience, good humour and frankness, on the myriad ways that POC deal with everyday racism—left out of spaces and conversations, and denied respect and justice.

Ogden is a delightful powerhouse of a storyteller and social justice activist; candid in her sharing of her life and knowledge—despite her daily personal challenges (she also lives with physical disability and mental health issues), despite the racist blow-back, and despite the soul-crushing ‘meh’ response from organizations who don’t think they need her consultation, or do need it but ignore it. But don’t call her “brave”. Firmly, but gently, she calls on the white folks in the audience to examine their responses to white-dominated spaces, places and ideas. How true social justice includes considerations of intersectionality—and we need to be mindful and respond accordingly.

Just because we’re used to situations in which white supremacy is the default—in our government institutions, everyday social lives and even our arts institutions—doesn’t mean it’s a good thing or the right thing. Everyone deserves respect. Everyone deserves to be heard. And everyone deserves a safe space to grow, learn, live and be themselves in the world.

Monica vs. the Internet: Tales of a Social Justice Warrior continues in the Tarragon Theatre Solo Room until July 13; check the show page for exact dates/times and advance tickets.

Real & virtual worlds collide in the chilling, mind-blowing The Nether

Hannah Levinson & David Storch. Set and lighting design by Patrick Lavender. Costume design by Michelle Bohn. Photo by Tim Leyes.

 

Production warning: While nothing graphic whatsoever happens onstage, The Nether has violent and sexually explicit content, including rape, murder, suicide and pedophilia, that may be deeply disturbing to some. Please be advised.

Coal Mine Theatre joins forces with Studio 180 Theatre, opening its 5th season last night, taking us to a shocking virtual reality world with its Toronto premiere of Jennifer Haley’s The Nether, directed by Peter Pasyk. Part crime procedural, part sci-fi thriller, The Nether explores the dark side of human desire, asking us: Are pedophilia, rape and murder, committed with impunity in an online world, truly victimless? And should these online crimes be punishable in the offline world?

The Nether is the evolution of the Internet in not too distant future; an virtual online world that provides access to “realms” of education, work and fantasy role play on a level never seen before. In a world where trees, grass and plants—aspects of nature we take for granted—are rare and costly, The Nether provides access to startlingly realistic environments that engage all of the senses; and the chance to become anyone you want via an avatar persona. It is here that Sims (David Storch) has created The Hideaway, a stately, secluded Victorian home placed in a pastoral setting lush with trees and a garden. Presenting himself as Papa to his virtual guests and employees, he plays host to those who, like himself, have certain proclivities that would be considered heinously criminal in the “offline” world. The Hideaway is a pedophile playground, where adult guests may interact with, rape and murder children with complete impunity. After all, Sims argues, these aren’t “real” children, so no crime has been committed; and his realm provides a service in that it keeps pedophiles from realizing their desires in the real world as they satisfy their hunger online.

Nether law enforcement Detective Moss (Katherine Cullen) would disagree and has taken Sims in for interrogation. [Mini-spoiler alert] As part of the investigation, undercover agent Woodnut (Mark McGrinder) infiltrates The Hideaway as a guest, to witness first-hand the goings-on there. Woodnut spends a great deal of time with Iris (Hannah Levinson), a girl of about 12 and Papa’s favourite. Eerily life-like and possessing of an old soul, Iris is aware of her role as child victim; she is patient and encouraging with newbie Woodnut, who is bashful and hesitant to fully play out the game, assuring him that she resurrects after each murder.

Moss also questions Doyle (Robert Persichini), a high school science teacher and former guest at The Hideaway who claims to know nothing about Sims’ motives and plans, but whose troubled demeanour suggests that he’s hiding something. He does confess to Moss that he wants to “cross over”—leave the offline world behind and live out the rest of his life completely online. Referred to as “shades,” those who set out to do so must make arrangements for life support for their corporeal bodies in the real world—and Moss is alarmed at the prospect, warning Doyle that these supports aren’t as advertised.

What’s critical for Moss’s investigation is that the characters at The Hideaway are not computer programs or AI constructs—they are avatars with a person behind them. And while Sims insists that he fastidiously vets all participants to ensure adult-only entry, Moss believes that his realm is far from victimless.

Gripping, laser-focused work from the cast in this haunting tale of a fascinating and disturbing new world—all the more troubling as it’s not too far into the future. Cullen gives an edgy, driven performance as Moss; determined to get to the truth at nearly any cost, Moss also has her own demons to tame. Storch delivers a razor sharp, complex pair of characters: the cool, clever virtual entrepreneur Sims, and the playful, warm father figure Papa. Masterfully compartmentalizing his offline and online lives, Sims rationalizes his creation by positing that he keeps pedophiles off the streets, but appears to struggle with personal attachments of his own in The Hideaway.

Levinson is a precious, likable smarty pants as Iris; playful, curious, observant and empathetic, Iris begins to question her world, putting her position at risk. Persichini gives a deeply poignant performance as the troubled Doyle; a sharply intelligent and profoundly lonely and sad man, Doyle longs to be in a world where he is loved and feels a sense of belonging. Nicely layered work from McGrinder as the kind, conflicted Woodnut; entering The Hideaway to investigate, he finds himself strangely drawn to this world—and must come to grips with the personal feelings that emerge while in this undercover position.

The ensemble is nicely supported by compelling, atmospheric design elements, from Patrick Lavender’s startling, transporting set and lighting design, to Michelle Bohn’s mix of period and futuristic costumes, and Richard Feren’s spooky, game-like sound design.

It’s a lot to process—and raises important moral and ethical questions about the power of technology to transport, entertain and engage. Would a realm such as The Hideaway keep society safe in that rapists, murderers and pedophiles could enact their dark desires only online? Or would it serve as a dress rehearsal for the real thing or convert those who’ve never considered such atrocities? And if you believe that behaviour is shaped by thought, is there really such a thing as a victimless crime in any world?

The Nether continues at Coal Mine Theatre until November 4; get advanced tickets online—advance booking strongly recommended.

In the meantime, check out cast and crew interview videos on the Coal Mine website.

 

The impact of image on memory, identity & social change in the remarkable, moving, visually epic Reflector

Abraham Asto, Louisa Zhu, Michelle Polak & Michael Spence. Lighting & projection design by Laird MacDonald. Set design by Michael Spence & Laird MacDonald. Costume design by Melanie McNeill. Photo by Michael Cooper

 

Theatre Gargantua celebrates its 25th birthday with the world premiere of Reflector, conceived and directed by Jacquie PA Thomas, and written by Michael Spence—opening last night in the Theatre Passe Muraille (TPM) Mainspace.

Starring Abraham Asto, Michael Spence, Michelle Polak and Louisa Zhu, Reflector is a multimedia, multidisciplinary journey of sight, sound, memory and emotion as the storytelling explores the impact of image, tricks of the light and the perceptions of the mind’s eye. Combining physical theatre, poetry/spoken word, scenes and monologues with evocative soundscapes and a kaleidoscope of images, Reflector features projection and lighting design by Laird Macdonald, a set designed by Macdonald and Spence, sound design by Thomas Ryder Payne and costume design by Melanie McNeill.

We follow the interviews and experiences of three patients of psychologist/neuroscientist Dr. Haddad (Asto): photojournalist Declan (Spence), who took a Pulitzer prize-winning photo of a little girl who was killed among the charred ruins of her war-torn neighbourhood, and who now can’t identify everyday objects; Roula (Polak), a woman with hyperthymesia, who remembers every minute detail of everything she’s ever seen; and Kelly (Zhu), an Internet phenomenon who’s been living her life almost exclusively online, until one day she stopped doing so. All are poets; and this is reflected in the lyric language of monologues, rapid fire rap and spoken word, and the way these characters see the world, including themselves. Secret thoughts and inner conflicts emerge—even for Dr. Haddad, whose love of science is equalled only by his love of a childhood fascination with an art that at first betrayed him.

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Michelle Polak & Michael Spence (foreground); Louisa Zhu & Abraham Asto (background). Lighting & projection design by Laird MacDonald. Set design by Michael Spence & Laird MacDonald. Costume design by Melanie McNeill. Photo by Michael Cooper

The pacing and tone shifts back and forth, playing out opposites in a rich audio/visual tapestry of conflicting thoughts and emotions: calm and storm, light and shadow, break-neck speed and Sunday drive, fluid and erratic, soothing and jarring, cerebral and visceral. Movement matches sight and sound in evocative, innovative—and at times disturbing—ways.

Outstanding performances from the entire ensemble here, as the performers play out this story in a physical, vocal and emotional marathon. Asto brings a nice balance of warm, thoughtful professional and curious, child-like fascination to scientist Dr. Haddad— who gets an equally warm, child-like send-up from the other characters in a hilarious scene of self-reflection. Spence gives the tortured, frustrated Declan a fierce internal boil beneath the fragile, vulnerable surface. Polak’s Roula has a puck-like, wise-cracking frankness that belies inner turmoil and terrified grasping for identity. And Zhu’s got mad rapping skills, her mouth shooting words like a semi-automatic; then shows great debating chops as Kelly makes her argument for her virtual life—a life interrupted, but by what?

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Abraham Asto & Michael Spence. Lighting & projection design by Laird MacDonald. Set design by Michael Spence & Laird MacDonald. Costume design by Melanie McNeill. Photo by Michael Cooper

The impact of image on memory, identity and social change in the remarkable, moving, visually epic Reflector.

Reflector continues at TPM until November 18; get your advance tickets online .