Sharply funny, moving, candid looks at LGBTQ lives in 7th annual Gay Play Day

Gay Play Dayan annual festival of short, new plays written by LGBTQ playwrights and their allies—returns to the Alumnae Theatre Studio for two days only. This is the 7th year of the fest for founding AD Darren Stewart-Jones and the GPD team, which this year includes technical director Johnny Salib and Henry Keeler on front of house. The 2018 edition includes two programs, each featuring four short plays: the Lavender Show and the Pink Show. I caught both at opening night last night; here they are, in order of appearance.

THE PINK SHOW (approx. 75 minutes)

Fade to Black. Written/directed by Darren Stewart-Jones. Old Hollywood meets 21st century fandom when aging former Hollywood icon Bedelia Blake (Nonnie Griffin) finds an unexpected #1 fan when she meets Jamie (Nathaniel Bacon), a young gay man volunteering for Meals on Wheels. Largely secluded from the world for some time, Bedelia finds renewed public interest in her life and career as that first meeting evolves into friendship. Also featuring Philip Cairns as Mr. Johnson. Tender and nostalgic; featuring lovely, layered performances from Griffin and Bacon, as Bedelia and Jamie open up and feel at home enough to be their true selves with each other.

Labels. Written/directed by Erika Reesor. Lesbian couple Danny (Leigh Patterson) and Mia (Emily Schooley) live with Danny’s mom and are preparing for her birthday. Already stressed about the situation, when Mia finds a prescription for testosterone in Danny’s jeans, Danny has some serious explaining to do—sparking a series of confessions and revelations about their relationship and beliefs about gender. A funny, poignant and real two-hander; with grounded, engaging performances.

Diamonds on Plastic. Written/directed by Philip Cairns. Doris (Margaret Lamarre), a straight married spitfire of a southern lady of a certain age confides in us about her love of shopping and all things that sparkle—and goes on to open up about a blossoming affair with a childhood friend, also a straight married woman. Confessions of a shopaholic who adores jewels, shoes and surprisingly more; and a hilarious and entertaining performance from Lamarre, who also gives an LOL turn as Doris’s husband.

Point and Click. Written/directed by Steven Elliott Jackson; stage manager/producer Winston Stilwell. Gossiping away on his cellphone, the arrogant, catty photographer Andre (Adam Bonney) talks trash about friends and colleagues while waiting for a male model to arrive at his studio, virtually ignoring Shannon’s (Jim Armstrong) arrival. A sharply funny look at the perceptions of beauty, with schooling on fat shaming and body image; nicely paired casting, with spot on comic timing from Armstrong.

THE LAVENDER SHOW (approx. 65 minutes)

I’ve Just Seen a Face. Written/directed by Kris Davis. Charlie (Sav Binder) and their friend Mel (Chantel Marostica) attend a queer date/games night, hosted by Sage (Kasden Leo Indigo). While Mel gets to know Sage, Charlie has a near miss with Annie (Rose Tuong), but finds an opportunity for a meet cute at the Knit Café, where Annie works and teaches knitting workshops. Charlie is smitten, but how do they tell Annie that they have facial blindness? A sweet queer rom-com vibe; with hilarious, entertaining performances—particularly Marostica’s cynical, edgy comic Mel, and Binder’s adorkably awkward romantic Charlie.

Missed Connections. Written/performed by Mark Keller; directed by Nick May. Single and alone for the past two years after a break-up, a 30-something gay man surfs the Internet for missed connections, in desperate hopes that someone’s noticed him. Beginning to question his own sanity, he reminisces about his past love as he tries to find the courage to find a new one. Full of LOLs and deeply poignant moments that resonate with any lonely soul who’s had their heart broken.

The End is the Beginning. Written by Tina McCulloch; directed by Josh Downing. The relationship dynamics between Elena (Devon Hubka), Vivian (McCulloch) and LeeAnne (Kelly-Marie Murtha) play out in reverse in this brief, dramatic, time-shifting look at the nature of love and alternatives to traditional monogamy. A candid, deconstructed look at coupling in the face of an ongoing relationship; nicely present, intimate work from the cast.

Coming Clean. Written/performed by Laura Piccinin. Part stand-up, part personal storytelling, Piccinin stands behind a mic and tells us her coming out stories (yes, there’s more than one). Sharply observed, tightly delivered—and finding laughter in the pain—for an entertaining and insightful, out and proud ride.

Missed last night? No worries! Gay Play Day runs for two days, continuing today (Saturday, September 8) up in the Alumnae Theatre Studio: the Lavender Show at 3pm and 7pm; the Pink Show at 5pm and 9pm. Get advance tickets online or at the door (cash only).

And keep up with all things Gay Play Day on Facebook and Twitter.

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Toronto Fringe: Love vs. consent in the candid, intimate, autobiographical The Girl in the Photograph

Andrea Cabeza & David Chinchilla. Photo by Liliana Vera.

 

She signed her love notes with “The Girl in the Photograph”. He signed his with “Prince Charming”. She was 14 when their love affair began.

Chameleon Productions presents the true story of love behind the scenes at a young theatre company in Mexico with their Toronto Fringe production of The Girl in the Photograph. Created by Andrea Cabeza, written by Joel Pettigrew, and directed by Victoria Urquhart with associate director Melissa Fearon, the play is currently running in the Factory Theatre Studio.

This story of rule-breaking love begins in a police station interview room, where 15-year-old Paula (Andrea Cabeza) has been left stewing for hours; she is finally joined by Ofelia (Erin Roche), who is there to take her statement. Shifting back in time, we witness Paula’s story unfold. A gifted emerging young actor, Paula comes to work with 26-year-old Beto’s (David Chinchilla) theatre company, whose primary source of funding is the wealthy father of Beto’s live-in girlfriend Martina (Roche). Working hard and honing her craft, Paula shares with Beto a passion for Shakespeare and storytelling—and their actor student/director mentor relationship evolves into a secret passion for each other. Observing from the sidelines is Beto’s SM/assistant Alexia (Tamara Almeida), who is well-aware of Beto’s reputation with women, especially lovely and talented young actresses.

Conflicted and fearing for Paula’s safety, Alexia’s detached observation borders on complicity when she offers to drive Paula to Beto’s home for their secret romantic meetings. Conflicted herself, Paula struggles with Beto’s endless excuses for delaying his break-up with Martina—and Martina’s pregnancy adds an additional complication. Paula knows she should leave him, but can’t bring herself to do it. And when the relationship is revealed to Paula’s mother, their world is blown apart.

Beautifully nuanced, honest and respectful performances from the cast in this candid, intimate autobiographical piece. Like the love vs. consent scenario we saw onstage last fall with Rose Napoli’s Lo (or Dear Mr. Wells)—which portrayed a student/teacher relationship, told from the point of view of the student—The Girl in the Photograph forces us to question our position. Is a minor, no matter how wise beyond her years she may be, truly able to consent to a sexual relationship with an adult? Where does the onus lie in such a situation? In the end, Paula is left to work through the impact—both positive and negative—on her personal and professional life, and find closure as she chooses the path her life takes next.

With shouts to the design and music teams: Original music by Marina Lopez, performed live on acoustic guitar by Owen Gardner, sound design by Johnny Salib, and production design by Ruth Albertyn.

The Girl in the Photograph continues in the Factory Theatre Studio until July 15; check the show page for exact dates/times.