FireWorks Festival: Fairy tale favourites collide with a contemporary feminist twist in the hilariously charming, bawdy If the Shoe Fits

 

Erik Mrakovcic & Marina Gomes. Set design by Teodoro Dragonieri. Costume design by Margaret Spence. Lighting design by Liam Stewart. Photo by Bruce Peters.

 

Alumnae Theatre launches the final week of its FireWorks Festival with Genevieve Adam’s If the Shoe Fits, directed by Heather Keith—opening last night in Alumnae’s Studio Theatre. Fairy tale favourites collide, with a contemporary feminist twist, in this hilariously charming, bawdy deconstructed Cinderella story—and an inside look at what really happens after the “happily ever after”.

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Chris Coculuzzi & Erik Mrakovcic. Set design by Teodoro Dragonieri. Costume design by Margaret Spence. Lighting design by Liam Stewart. Photo by Bruce Peters.

Hosted by our glittering Narrator (Eugenia De Jong, with a twinkle in her eye and an arch in her brow) as she interacts with both audience and characters, we’re introduced to the intrepid Sir Eglantine (Chris Coculuzzi), who’s been tasked by the Prince to find the young maiden who fits the pretty size 7 glass shoe that was left behind at the ball. He’s been at it for over two years with no success, and is at his wit’s end—until he learns of a simple pig farmer Ned (Erik Mrakovcic) who has a sister that he believes may be the one. Having raised his sister and run the family farm since they were orphaned as children, Ned is incredulous at first—especially as his sister is a rough and tumble kind of gal—but the possibility of a life of wealth and comfort for Nora (Marina Gomes), and a plumb position as the Royal Hog Supplier, convinces him to let Sir Eglantine try. And the shoe fits!

Meanwhile, at court, Felicite (Sophie McIntosh), Amandine (Jennifer Fahy) and Virginie (Chantale Groulx) share laughs and woes over a good sisterly bitch session (think Desperate Housewives of the French Court); all have either neglectful or beastly husbands, and all are engaged in affairs to varying degrees—in some cases, for economic survival.

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Jennifer Fahy, Sophie McIntosh & Chantale Groulx. Set design by Teodoro Dragonieri. Costume design by Margaret Spence. Lighting design by Liam Stewart. Photo by Bruce Peters.

Upon his arrival at court with Ned and Nora, Sir Eglantine finds himself in hot water with Virginie after sending no word while he was away for over two years. Amandine has her eye on some fresh meat: Ned, who has also recently been fitted with some fancy court clothes (big shouts to costume designer Margaret “The Costumator” Spence for the stunning—and surprising—period wardrobe). Felicite is charged with training Nora to be a lady, with hilarious results as Nora navigates court fashion, manners and deportment. Enter a young court violinist (Mark McKelvie), who is not all he seems, who has been watching Nora with great interest. Plots, plans and unexpected alliances ensue; and even the Narrator seems at a loss about what to do. Will tattered marriages be mended—and will the Prince have his mystery sweetheart for his wife?

Excellent work from the ensemble in this fast-paced, sharply funny fairy tale for modern times that incorporates issues of gender, class, marriage and consent in candid, provocative ways. Coculuzzi rounds out Sir Eglantine’s loyal, fastidious sense of duty with a soft, romantic heart; this plays nicely against Groulx’s sharp-tongued, cynical and pragmatic Virginie, a desperate, neglected wife and mother who longs for love and security. Mrakovcic gives an amiable, but opportunistic, turn as the homespun pig farmer Ned, who has quite the eye-opening when he becomes Amandine’s boy toy; putting the shoe on the other foot, so to speak. Fahy is deliciously arch and saucy as Amandine; as experienced in the ways of love as she is in revenge, Amandine is tougher than her powdered, ribboned exterior would suggest. Gomes is extremely likeable and feisty as the rough, independent Nora; with a Puck-like agility and sense of irreverent fun, Nora plays along with her courtly transformation—but finds she’s got a big decision to make. McIntosh infuses Felicite’s poignant sweetness with a determined sense of resolve and virtue, even when she’s in doubt of what to do. And McKelvie gives the ridiculously handsome and adorably awkward Prince a boyish naiveté; entitled and sheltered, the Prince has no idea about the world outside the castle, especially when it comes to meeting women.

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Mark McKelvie. Set design by Teodoro Dragonieri. Costume design by Margaret Spence. Lighting design by Liam Stewart. Photo by Bruce Peters.

The knights and princes who save the damsels, or use the damsels save them from themselves, or find the mysterious girl who fits the shoe she at the ball, all feel entitled to own these women through marriage—all the while calling it “true love”. But who says the women were in distress, or wanted to save a cursed man from himself, or marry a prince?

The shoe may fit, but she doesn’t have to wear it.

If the Shoe Fits continues in the Alumnae Studio Theatre until November 24; get tickets online, by calling 416-364-4170 (ext. 1) or in-person at the box office one hour before curtain time (cash only). There will be a post-show talkback with the director, playwright and cast following the Saturday, November 23 matinée performance.

 

FireWorks Festival: Navigating the media circus in the face of profound loss in the moving, razor-sharp, thought-provoking Grief Circus

Bronson Lake & Alison Dickson. Set design by Teodoro Dragonieri. Costume design by Paige Foskett. Lighting design by Liam Stewart. Photo by Bruce Peters.

 

Alumnae Theatre opened its second week of the FireWorks Festival last night, with Crystal Wood’s Grief Circus, directed by Paige Foskett. As moving as it is razor-sharp, this timely multimedia piece holds up a mirror to society’s morbid fascination, involvement and sharing in the death of strangers. A family has lost a beloved daughter and sister, an event that becomes fresh meat for the news and social media feeding frenzy. As they navigate the media circus that follows, mother and sister take very different paths to work through their grief.

Leah (Alison Dickson) speaks to us directly, our host and narrator as we witness scenes—sometimes in flashback—around the events of her older sister Jesse’s (Claire MacMaster) disappearance. Jesse’s body was later found in a ravine, and both Leah and her mother Carol (Bernadette Medhurst) find themselves in the spotlight of an often intrusive, uncaring news media—even confronted by a photographer (Jack Everett) on the steps of their small-town church when they attend Jesse’s funeral. In the aftermath, while Leah finds herself slogging through a callous, click bait world of modern news and social media, bombarded with ignorance and cruelty as she struggles to work through grief and loss, she is appalled to find her mother joining in—writing a book about the experience of losing her daughter, and working with PR folks to book interviews.

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Alison Dickson & Claire MacMaster. Set design by Teodoro Dragonieri. Costume design by Paige Foskett. Lighting design by Liam Stewart. Photo by Bruce Peters.

Alternating between past and present, we see a 15-year-old Leah interacting with Jesse, who is her best friend, advisor, confidante and go-to source of info on the state of their parents’ shaky marriage; then a few years later being invited to a party with Jesse and her friends in Toronto, where Jesse disappears after leaving on her own. We see Leah go head to head with Carol over Carol’s making an industry of Jesse’s death; and the battle for Leah’s participation in a television interview, taking place the same day as her first day at university. And Leah has a meet cute with Charlie (Bronson Lake), an awkward but sweet university student; they go on a sort of date, but his motives are called into question when an altered recording of a chat he had with their server (Everett) turns up on the news, showing Leah in the worst possible light as the troubled sister of a famous dead girl.

Lovely work from the cast in this timely, moving and razor-sharp exploration of how news and social media can intrude upon and dishonour the departed, and have a profound impact on their loved ones. Dickson gives a stand-out performance as the whip-smart, introverted, wry-witted Leah; precocious, irreverent and wise beyond her years, Leah can be her own worst enemy as she keeps herself informed about world events—events that spark deep anxiety over the possibility of catastrophe. Conflicted about engaging with the Internet following Jesse’s death, what she finds there only serves to make her journey through grief more difficult.

MacMaster gives an energetic, luminous performance as the bubbly extrovert Jesse; the best big sister Leah could have, she’s super supportive and encouraging—balancing a respect for Leah’s boundaries with gentle pushes outside her comfort zone. Medhurst does a nice job with the conflicted Carol; a mother who’s lost her daughter, she deals with her grief the only way she knows how—honour Jesse’s memory so she won’t be forgotten. Lake gives an adorably awkward performance as the bashful Charlie; somewhat of an introvert himself, Charlie is interested in Leah, but unfortunately not very media-savvy. And Everett offers a great range of news media folk, from the intrusive jerk photographer at the funeral, to serious CTV reporter, to sleazy “journalist”.

Timely, moving and sharply funny, Grief Circus incorporates video and projected social media messaging (video design by director Foskett) to illustrate the scope of the family’s loss of a wonderful, energetic young woman—and the inappropriate, at times heartless, thoughtless and intrusive, response of the public. Strangers turning up at the funeral, or making comments in person or online; and, worst of all, the anonymous social media posters who cast negative, clueless aspersions about Jesse’s character—especially the trolls who say that Jesse had it coming.

Grief Circus continues in the Alumnae Studio Theatre until November 17; get tickets online, by calling 416-364-4170 (ext. 1) or in-person at the box office one hour before curtain time (cash only). There will be a post-show talkback with the director, playwright and cast following the Saturday, November 16 matinée performance.

FireWorks continues its three-week run until November 24, presenting a new show each week. The festival closes with Genevieve Adam’s If the Shoe Fits, directed by Heather Keith (Nov 20-24).

 

FireWorks Festival: Real-life fame, fortune & fall in the entertaining, heart-felt Belle Darling Klondike Queen

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Lindsay Sutherland Boal. Set design by Teodoro Dragonieri. Costume design by Adriana DeAngelis. Lighting design by Liam Stewart. Photo by Nicholas Porteous.

Alumnae Theatre Company (ATC) opens its annual FireWorks Festival of new works with Natalie Frijia’s Belle Darling Klondike Queen, directed by Lori Delorme, with music direction by Anita Beaty—running upstairs in the Studio. Part cabaret, part vaudeville, all heart—this highly entertaining and engaging piece of musical storytelling takes us on vaudeville star Klondike Kate’s (born Kathleen Rockwell) real-life journey of fame, fortune and fall, all set against the backdrop of fading days of the Klondike Gold Rush.

Put on your boots, leave your pick and sing along at the Portland Alaska Yukon Society’s 1931 Sourdough Reunion, featuring headliner—none other than the famous star of vaudeville stage—Klondike Kate (Lindsay Sutherland Boal)! Alumnae Theatre’s Studio Theatre has been transformed into a vaudeville music hall for this real-life tale of the highs and lows of Kate’s storied career in Canada’s North, and dreams of becoming a nation-wide vaudeville impressaria across the U.S.

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Sarah Kaufmann, Madeleine Keesmaat-Walsh, Roxhanne Norman & Lindsay Sutherland Boal. Set design by Teodoro Dragonieri. Costume design by Adriana DeAngelis. Lighting design by Liam Stewart. Photo by Nicholas Porteous.

Accompanied by a fine ensemble of multi-talented, multi-tasking actors (Sarah Kaufmann, Roxhanne Norman and Madeleine Keesmaat-Walsh), with piano player Calvin Laveck tickling the ivories, Kate takes us on a whirlwind musical and storytelling tour of her life—from wayward Victorian Catholic schoolgirl (Kathleen), to vaudeville chorus girl (Kitty), to headliner Belle Darling Klondike Queen (Kate), and a near miss as Pantages theatre partner and impressaria.

Kate has no use for being a “lady” in the traditional Victorian sense of the word, and sets off on an adventure of her own making—breaking gender barriers and the rules as she goes. Taking us back to the “good ‘ol days” with song, story and satire, the God’s honest truth is that these meanderings of nostalgia can’t erase the personal and financial risk, danger and heartbreak of those who tried their luck—and put their strength and resolve to the test—searching for gold in those freezing cold Northern mountains. All for fame and fortune.

Sutherland Boal gives a powerhouse performance as the ambitious, fearless Klondike Kate—a role that amply showcases her considerable vocal chops as she belts out rousing music hall tunes and caresses melancholy ballads. Sassy, classy, gutsy and irreverent, Kate turns away from what’s expected of her as a “good Victorian lady” to carve out her own path and live on her own terms. And beneath the seasoned showmanship and razzmatazz of Kate’s vaudeville persona, Sutherland Boal digs deep to reveal the broken-hearted woman who reached for it all only to find her ultimate dream of business partnership taken away. Disappointed, but not discouraged, she soldiers on—the show must go on, after all.

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Sarah Kaufmann. Set design by Teodoro Dragonieri. Costume design by Adriana DeAngelis. Lighting design by Liam Stewart. Photo by Nicholas Porteous.

She is well-supported by a stand-out ensemble; changing character on a dime in this fast-paced, alternately slapstick and poignant trip through music hall shenanigans both on and off the stage. Kaufmann is adorably Puck-like in her comic turns as the crafty entrepreneur Sophie, and a lusty young sourdough (a Yukon resident) on the make. Norman performs with a playful glint in her eye—and has an outstanding set of pipes herself—in her saucy turn as Kate’s pal and vaudeville partner Gertie; and the charming and irresistible, but false, Alexander Pantages. And Keesmaat-Walsh brings hilarity and swagger as Kate’s gruff boss Arizona Charlie and an awkward strong woman act, among others.

It’s a real-life adventure of fame, fortune and fall—told with song, story and heart. But you don’t have to believe me; check out the trailer (scroll down on the show page).

Belle Darling Klondike Queen continues in the Alumnae Studio Theatre until November 10; get advance tickets online or by calling 416-364-4170 (ext. 1), or pick up in-person at the box office one hour before curtain time (cash only). There will be a post-show talkback with the director, playwright and cast following the Saturday, November 9 matinée performance.

FireWorks continues its three-week run until November 24, presenting a new show each week: Crystal Wood’s Grief Circus, directed by Paige Foskett (Nov 13-17); and Genevieve Adam’s If the Shoe Fits, directed by Heather Keith (Nov 20-24).

 

 

A delightfully witty stab at the upper class in Alumnae’s charming, entertaining The Importance of Being Earnest

Sean Jacklin & Nicholas Koy Santillo. Set design by Marysia Bucholc. Costume design by Margaret Spence, with associate Peter DeFreitas. Lighting design by Liam Stewart. Photo by Bruce Peters.

 

The Alumnae Theatre Company goes Wilde with its charming, entertaining production of Oscar Wilde’s The Importance of Being Earnest, directed by Barbara Larose, assisted by Ellen Green—opening last night on Alumnae’s Mainstage. Set in 1895, this beloved Wilde classic adeptly and hilariously satirizes the British upper class; and is so full of well-known razor-sharp witticisms, it’s a veritable cornucopia of Wilde’s greatest hits.

Best friends Jack (Nicholas Koy Santillo) and Algernon (Sean Jacklin) are wealthy young bachelors about town—wicked enough to be modern, but not so much that they’re criminal. That’s about to change, as Jack is smitten with Algie’s cousin Gwendolyn (Kathryn Geertsema) and has his mind set on proposing. But, although Jack and Gwendolyn are mutually agreed upon the prospect, they must get permission from her imperious mother Lady Bracknell (Tricia Brioux); and they hit a major roadblock when Jack is questioned about his parents, of whom he knows nothing, as he was a foundling. Scandalized at the thought of her daughter marrying a man who was found in a handbag as an infant, Lady Bracknell orders Jack to find evidence of his ancestry—a condition of her giving her blessing to the match.

If that weren’t enough, Jack is living a double life: he is Jack in his country home, where he is the responsible guardian of his 18-year-old ward Cecily (Laura Meadows), but goes by the name of Earnest in town. So Gwendolyn believes his name is Earnest—and has romanticized the name to the point that she believes it to be a vital ingredient to marital bliss. And to make matters even more complicated, Jack has created a fictitious wicked younger brother named Earnest, a relation only mentioned by that name when he’s in the country.

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Left: Kathryn Geertsema & Nicholas Koy Santillo. Right: Laura Meadows & Sean Jacklin. Set design by Marysia Bucholc. Costume design by Margaret Spence, with associate Peter DeFreitas. Lighting design by Liam Stewart. Photo by Bruce Peters.

The engagement on hold, Jack returns to his country home to try to sort out his birth, his name and kill off his fictitious brother. He enlists the aid of Rev. Chasuble (Rob Candy), the affable and learned local minister who enjoys taking his regular constitutional over to the house to visit Cecily’s prim, exacting governess Miss Prism (Tina McCulloch). They are surprised by an unexpected guest: Jack’s brother Earnest! Of course, it’s really Algernon, out for a bit of fun and longing to meet Cecily, who also happens to adore the name Earnest; and the two hit it off nicely and become engaged on the spot. And when Gwendolyn arrives, curious about the engraving she saw in Jack’s cigarette case (from Cecily), the two women face off over who is, in fact, engaged to Earnest. Chaos and confessions ensue; and with the arrival of Lady Bracknell, a revelation. All great fun and hilariously sending up the upper echelons of British society, with Algernon’s wry-witted, deadpan housekeeper Lane (Lisa Lenihan) and Jack’s understated, watchful Merriman (Barbara Salsberg) witnessing the tomfoolery of their supposed betters from the sidelines.

 

The cast does a great job with the crisp, rapid-fire dialogue—so full of quotable bon mots, it’s easy to get caught up in the rapier wit shenanigans. Koy Santillo and Jacklin are perfect foils as Jack and Algernon; an odd couple pair of best friends, with Jack (Koy Santillo) being the somewhat more responsible and respectable, and Algernon (Jacklin) being more slapdash and careless. And Geertsema’s sharp, independent-minded Gwendolyn and Meadows’ romantic, precocious Cecily are not only well-matched to their respective boy; they share a highly entertaining two-hander scene, their proper high society manners a thin veil to the steely, take-no-prisoners resolve to win Earnest—only to become BFFs when they learn about the boys’ hijinks with the name Earnest. And Brioux is an impressive, commanding presence as the fastidiously precise, domineering Lady Bracknell; her cutting pronouncements and withering glances as the formidable dowager earned a round of applause on her exit near the end of Act I.

 

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Tricia Brioux. Set design by Marysia Bucholc. Costume design by Margaret Spence, with associate Peter DeFreitas. Lighting design by Liam Stewart. Photo by Bruce Peters.

The Importance of Being Earnest is Wilde at his wittiest, satirical, make fun of the upper class best—and the Alumnae team does him proud. With shouts to the stunning period costumes designed by Margaret Spence, with associate Peter DeFreitas; Marysia Bucholc’s trim, ornate and highly efficient moveable set, illuminated by lighting designer Liam Stewart; and Rick Jones’ period-perfect sound design. All held together by the intrepid SM Margot Devlin.

 

The Importance of Being Earnest continues on the Alumnae Theatre Mainstage until October 6. Get advance tickets online, by calling the box office: 416-364-4170, ext. 1 or at the door (cash only). Performances run Wednesday – Saturday at 8 pm, with matinees on Sunday at 2:00 pm.

The run includes Post-Show Talkbacks following the Sunday matinees on September 23 and 30; and a Pre-show Designer Panel on September 27 at 6:30 pm. (this one comes with snacks). Check out the fun trailer:

 

And check out this interview with actor Tricia Brioux in the Beach Metro Community News. Keep up with Alumnae Theatre on Facebook, Twitter and Instagram.