A trip through time with family, country & loss of innocence in the charming, poignant Cavalcade

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Lillian Scriven & Michael Ricci as Jane & Robert Marryot in Cavalcade – photos by Andrew Oxenham

George Brown Theatre opened its 2016-17 season last night at the Young Centre for the Performing Arts (located in Toronto’s Distillery District) with Nöel Coward’s Cavalcade, directed by A.D. James Simon, with musical direction by J. Rigzin Tute and choreography by Robert McCollum.

Cavalcade follows the lives of two intertwined families, the Marryots and their servants the Bridges, as they live through significant historical events, including the Boer War, the death of Queen Victoria, the sinking of the Titanic and WWI. From New Year’s Eve 1899 to the same night in 1929 and into New Year’s day 1930, the story is told through scenes of daily life and musical numbers.

The Cavalcade ensemble is comprised of George Brown Theatre School’s third year graduating class of 2017 (in alphabetical order): Gabriella Albino, Caroline Bell, Michael Boyce, Justine Christensen, Emily Cully, Genevieve DeGraves, Seamus Dillon-Easton, Kayla Farris, Jocelyn Feltham, Kyrah Harder, Patrick Horan, Chase Jeffels, Evan MacKenzie, Cora Matheson, Tymika McKenzie-Clunis, Lucy Meanwell, Thomas Nyhuus, Lucas Penner, Michael Ricci, Jake Runeckles, Lillian Scriven, Morgan St. Onge and Parmida Vand.

As Jane Marryot, Scriven anchors the show with a lovely combination of game stiff upper lip and moving emotional response to events that impact her family and country. And we see the kids grow up and move through various life milestones: the Marryots’ sons Edward (the dutiful elder son, played with a twinkle in the eye by Nyhuus) and Joseph (the younger, impetuous son, played with Puckish charm by MacKenzie), and the Bridges’ daughter Fanny (DeGraves, who brings a lovely arc from the wide-eyed adorable child to the slinky nightclub performer).

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Jake Runeckles, Lucas Penner & Michael Boyce performing by the seaside

There are some great moments of comic relief, notably at a night at the theatre in a play within the play called Mirabelle, featuring some fine musical antics from Matheson, Penner, Albino and Jeffels (featuring stand-out vocals from Matheson and Albino); and some seaside entertainment from Boyce, Penner (who also plays a mean ukulele) and Runeckles (who also supplies piano accompaniment throughout and does a delightful tap dance break). Musical moments are capped off by a lovely rendition of Coward’s “Twentieth Century Blues” by DeGraves in a wistful and world-weary welcome to 1930, leading into a chaotic epilogue that fast-forwards through the remainder of an astoundingly volatile, wondrous and quixotic century.

As we travel through time in Britain’s history, from the Victorian to the Edwardian age – and a fast-forward Epilogue finale through the remainder 20th century – we see how the major events of the age test her people’s resilience and fortitude. Perhaps more importantly, there’s a loss of innocence; the sometimes violent changes that occur as the world grows into more of a global village, and the ever quickening pace of life changes people irrevocably. And one can’t help but look back with fondness on – what looks like from the present point of view – a simpler, gentler time.

With shouts to set and costume designer Brandon Kleiman, especially for the stunning bejeweled purple frocks are stunning; lighting designer Siobhan Sleath for some lovely atmospheric effects; and stage manager Debbie Read for holding it all together.

A trip through time with family, country and loss of innocence in the charming, poignant Cavalcade.

Cavalcade runs at the Young Centre in the Tank House Theatre space until Nov 19; get your advance tix online or by calling the box office at 416-866-8666. It’s a great chance to see some exciting emerging talent before they head out into their careers.

You can also keep up with George Brown Theatre’s class of 2017 on Twitter.

Liberty at any cost – hardened life choices in Toronto Irish Players’ Big Maggie

bigmaggie1Saw another marvelous Toronto Irish Players (TIP) production yesterday afternoon – this time, John B. Keane’s Big Maggie, directed by Harvey Levkoe, on now at Alumnae Theatre.

Big Maggie is set in 1960s rural Ireland, where recently widowed Maggie Polpin (Janice Hansen) is delighted at her newfound freedom from a philandering lout of a husband – and doesn’t care who knows it. Her four young adult children, each in various stages of grief, are disappointed when mum takes control of the family farm and general store, not receiving their expected share of the business – and are forced into choosing her way or the highway. For Maggie, her singular goal is to live free and secure, with no one to answer to or for but herself. And she is not above making some ruthless, calculated choices to get there.

Levkoe has a fine cast for Big Maggie, with some particular stand-outs. Janice Hansen gives an outstanding performance as Maggie, the complex family matriarch, full of anger, ambition, desire and unstoppable drive. Maggie has a sharp wit and can be darkly funny, but is also so very lonely – and by choice. Lovely turns from the actors playing the Polpin kids: Ben Clifford as the oldest brother Maurice, struggling to come to a compromise with his mother so he can have a life of his own; Kyrah Harder’s Gert, the youngest daughter and “good girl” of the family, dreams still intact, and longing for her mother’s love and approval; Conor Murphy as the impetuous firebrand youngest brother Mick; and Kate Sheridan as “bad girl” Katie, strong-willed and driven, but no match for her mother. Stephen Flett was a delight, providing comic relief as Byrne, the cemetery monument sculptor and hopeful bachelor. Damien Gulde was very effective as the charming playboy travelling sales rep Teddy; and Rebecca Liddiard gave a strong, layered performance as Maurice’s sweetheart, balancing the introvert/extrovert and mild/fierce sides of Mary.

Shouts to designer Wayne Cardinalli, and the construction and dressing teams, for a beautifully rendered, detailed and practical set that drew us into the Polpin’s world.

Liberty at any cost. In the end, Maggie, with her life-hardened choices, is as much a victim of time, place and circumstance as those around her are victims of her premeditated cruelty – especially her children.

Big Maggie continues its run on the Alumnae Theatre mainstage – until March 8. I strongly recommend you reserve in advance – this past weekend’s performances were sold out.

In the meantime, check out the Big Maggie backstage goings-on via interviews and production photos on the TIP blog, by writer/journalist/blogger Jennifer Hough.