Mystery & memory in the delightfully whimsical, darkly funny, compelling DIANA (I Knew You When We Were Fourteen)

Ian Goff & Alexa Higgins. Photo by Barry McCluskey.

 

Falling Iguana Theatre Co., in association with The Centre for Drama, Theatre & Performance Studies (CDTPS), University of Toronto, presents the delightfully whimsical, darkly funny and compelling DIANA (I knew you when you were fourteen), by Falling Iguana co-founders Alexa Higgins and Ian Goff, with contributing playwright Sarah Higgins. A physical theatre, dark comedy mystery journey—weaving movement, memory, fantasy, fact and fiction in a fairy tale-like detective story—when Diana disappears after a high school dance, Michael is determined to find out what happened to her. Supported by consulting director Gillian Armstrong and dramaturg Sharisse LeBrun, DIANA opened for a short run in the Robert Gill Theatre at U of T last night—presented as this year’s CDTPS Alumni Performance Project.

Inspired by a footnote at the end of Michael Ondaatje’s poem Elimination Dance that read: “Diana Whitehouse, where are you?”, DIANA traces the individual paths of high school classmates Diana (Alexa Higgins) and Michael (Ian Goff) as they grow into adulthood—with Michael determined to find out what happened to Diana when she disappeared after a high school dance when they were in grade nine. Stretching out across the years, across Canada from small-town New Brunswick, to Vancouver, to Toronto—with side trips in Europe—we’re introduced to the cast of characters they cross paths with; all set to a sparkly, rockin’ 80s soundtrack.

Fact, fiction, fantasy and memory intertwine in a tale that is part dark comedy mystery and part fairy tale. Incorporating music, dance, movement and a cast of characters, we watch Michael investigate as gossip and recollection merge in the stories and perceptions about Diana and her parents. And we see events unfold from Diana’s perspective; confirming, denying and refining what people think they know about her and her family. Darkly funny, at times tender and compelling, lyrical and balletic, the audience gets caught up in both journeys as Michael searches for the truth, and Diana reaches out for a life away from the small-town rumour, judgement and assumptions about her and her parents.

Outstanding work from Higgins and Goff in this 60-minute marathon of storytelling; conveying character, emotion, action and place through monologue, dialogue, dance, movement and practically zero props/set pieces with energy and precision. Higgins brings a sardonic sense of humour with an edge of loneliness to the pragmatic, restless Diana. An enigmatic presence at school—which is what draws Michael to her—Diana struggles with flying under the radar of the small-town gaze while at the same time longing to break free. Goff is delightfully awkward, earnest and curious as Michael; unlike Diana, Michael is an open book, and his sharp focus and positive demeanour keep him on his mission to find Diana, in spite of his own personal heartbreak. And the two are hilarious as honeymooning couple Steve and Sarah; experiencing comic misadventure during a tandem bike tour around Paris. And as assorted elderly and/or gossiping neighbours, telling tall tales of the family who used to live in that house.

Memory can really be a funny thing; and can often say more about us than about the actual events we’re recalling. Tainted by judgement and assumption, and eroded by time, we may not really know what we think we know.

DIANA continues at the Robert Gill Theatre until September 15, with evening performances at 8pm, and matinées at 2pm on Sept 14 and 15; tickets available online or at the door.

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Hope & regret in the Village Players’ bittersweet, nostalgic The Glass Menagerie

Jacob Klick, Deena Baltman & Claire MacMaster. Set design by Alexis Chubb. Costume design by Livia Pravato-Fuchs, assisted by Marcella Pravato. Lighting design by Jamie Sample. Photo by John Ordean.

 

The Village Players open their 2019-20 season with Tennessee Williams’ The Glass Menagerie, directed by Victoria Shepherd and running at the Village Playhouse. A deeply autobiographical play, in memory of a beloved sister, it’s the story of a family’s struggles of identity and survival in a world mired in the Depression with another World War around the corner—bittersweet, nostalgic, and full of hope and regret.

Tom Wingfield (Jacob Klick) is both narrator and participant in this tale as he invites us into the world of the small St. Louis apartment where he lives with his mother Amanda (Deena Baltman) and sister Laura (Claire MacMaster). The Wingfield patriarch has been absent some 16 years—a “telephone man who fell in love with long distance”—his ever watchful, smiling face aglow in a frame on the living room wall. It is 1937, and America has been struggling through the Great Depression, with WWII a couple of years away.

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Deena Baltman & Claire MacMaster. Set design by Alexis Chubb. Costume design by Livia Pravato-Fuchs, assisted by Marcella Pravato. Lighting design by Jamie Sample. Photo by John Ordean.

Profoundly restless and bored with his job in a shoe factory warehouse, Tom finds escape and second-hand adventure in the movies and in books; and squirrels himself away at work during lunch breaks, writing poetry. At home, he snatches brief moments of solitude and reflection as he smokes on the fire escape; and hatches a plan to join the Merchant Marine and get away for some real adventures. Meanwhile, a desperate but hopeful Amanda—ever navigating the challenges of keeping the body and soul of the family together—longs for a successful and happy future for her children, even as she criticizes and directs their actions. Retreating into moments of nostalgic reverie as she recalls her days popularity and hosting numerous beaux in the rural south, she is clearly troubled; a fish out of water—and out of time—in their urban Delta home. And the painfully shy Laura—who would likely be diagnosed with social anxiety today—prefers her rich world of imagination and light. Self-conscious about her limp and anxious about how others see her, she finds sanctuary from an outside world that is too overwhelming to bear as she escapes into her glass collection.

Concerned that her daughter’s fragile, anxious soul is unable to manage a career as a secretary, Amanda shifts focus onto finding Laura a suitable husband, and enlists Tom’s aid to find a beau for Laura. He invites co-worker Jim (John Shubat), a former high school golden boy known to both Tom and Laura, over for dinner. Laura had a crush on Jim in high school, and the hopes and dreams of this gentleman caller are met with a frank and unexpected reality check.

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John Shubat & Claire MacMaster. Set design by Alexis Chubb. Costume design by Livia Pravato-Fuchs, assisted by Marcella Pravato. Lighting design by Jamie Sample. Photo by John Ordean.

Nice work from the cast in this snapshot of familial hope, regret, loss and disappointment; moments of humour and tenderness bring take the edge off the brutal frankness and disillusionment of this world. Klick’s Tom is a study of restless detachment; dutifully bound to ensuring the family’s security as the man of the house, Tom is boiling inside—busting to get out and away, and to a life of his own. Baltman brings a desperate edge of optimism to Amanda, a woman whose life vacillates between memories of better times and the harsh realities of present-day existence. Longing for the gentler, civilized days of her bygone youth—a world that no longer exists—Amanda’s gay, energetic girlishness belies an exhausted, lost middle-aged woman grasping for purchase and hope in world she neither understands nor wants.

MacMaster adds a hint of irreverent spunk to the otherwise fragile, introverted Laura. Losing herself in a world of light and magical creatures, Laura finds a sense of safety and belonging from the world outside their apartment. And Shubat’s Jim is the picture of affable charisma and confidence, tempered by the world weariness of a young man who peaked in high school. Jim has high hopes for the future; aiming for a career on the ground floor of television, he represents hope for the Wingfield family; and a high-energy, forward-thinking future where popularity and showmanship are bound to succeed.

In the end, all of these characters are misfits in his/her own way; lost and searching for a way to be in a changing modern world. And, to varying degrees, each is struggling to keep the pain of disappointment from turning into the paralysis of discouragement. The world seems to be made for the popular and confident, with higher value placed on the traditional markers of status and success than on more imaginative and unique qualities—where unicorns are encouraged to be just like the other horses.

With shouts to the design team for their work on bringing this world of fading memory to glowing life. Alexis Chubb’s homey domestic set, revealed by the opening of sheer curtains, nicely complimented by Jamie Sample’s lighting design; John Stuart Campbell’s sound and music design, incorporating popular music of the time and haunting, crystalline original compositions (featuring Vivien Shepherd on vocals) as it conjures the music hall across the alley and complements the emotional tone; and Livia Pravato-Fuchs’ (assisted by Marcella Pravato) period costumes, transporting us to both 1937 and Amanda’s youth.

The Glass Menagerie continues at the Village Playhouse until September 28. Advance tickets available online or by calling 416-767-7702.

SummerWorks: Reaching back through time & memory in search of home in the endearing, poignant hiraeth

Mandy E. MacLean. Lighting design by Logan Raju Cracknell. Photo by Matt Carter.

 

The hiraeth collective’s hiraeth, created and performed by Mandy E. MacLean, and directed for this SummerWorks production by Leah Holder, takes the audience on an intimate solo show personal history tour of teenage memories, with a longing for identity and a sense of belonging at the heart of the storytelling. Nostalgic, wistful and endearing in its humour and poignancy, it’s a reminder that you can’t really go home again, but you can visit for a brief time and maybe even take away something new. hiraeth opened at the Media Arts Centre in the Gamma Gallery yesterday afternoon.

MacLean joins the audience in the round, bursting with nervous energy and apology. A soldier’s kid who grew up in a Canadian Forces PMQ (Private Military/Married Quarters), as an adult, she searches through the dark of the basement, shouting to her mother upstairs as she rummages through storage containers to find her packed away stuff in a garbage bag. This personal archeological dig through the past reveals cassette tapes of teen journaling and music favourites—taking her back to a younger self who overheard parental arguments and feared for her father’s safety.

An awkward, bespectacled middle schooler nicknamed “Dung Beetle” by a mean girl classmate, and experiencing those awkward, wonderful first crush feels for a boy named Michael, she’s also navigating the excitement and concerns about the upcoming Y2K New Year and the big changes she anticipates it will bring. A flashlight becomes a male friend—not her boyfriend—and her other hand, wearing her glasses, becomes herself as she re-enacts a first kiss and later dancing at the New Year’s Eve party. Her heart set on the ever-evasive Michael, that first kiss was merely a practice run for him, and she’s painfully aware and wary of advancing her already precarious social standing by any assumptions that she was with a “loser”.

It’s an intimate, immersive experience—where the audience becomes her confidantes, fellow party goers and even her mother—as MacLean includes and addresses us directly while mapping out the scary, awkward, confusing and marvelous moments from her life as a teen; in search of home and identity, and mourning what was and what could have been, in an endearingly funny, vulnerable and poignant performance.

“Hiraeth” is a Welsh term for a feeling of homesickness for a home you can’t go back to—or maybe never even existed. Part nostalgia, part grief experience, part interior journey, hiraeth lives up to its name. You can’t go home again—and the trip you take through memory and personal artifacts maybe only highlight what you took with you. But maybe the attempt can unearth something new.

hiraeth continues in the Toronto Media Arts Centre Gamma Gallery (second floor, hang a hard right when you get to the top of the stairs) until August 17; check the show page for exact dates/times. Tickets available online or in person at the box office; seating is limited, so consider booking ahead.

SummerWorks: Running away to home in the fierce, funny, inspiring, socially aware The Breath Between

Fio Yang. Photo by Saba Akhtar.

 

The AMY Project returns to SummerWorks, this year with a journey of belonging and identity as a group of BIPOC, 2LGBTQ women and non-binary youth living in a world ravaged by climate change venture out in search of a place where they can feel safe and welcome to be themselves. The fierce, funny, inspiring and socially aware The Breath Between, directed by kumari giles and Julia Hune-Brown, assisted by Jamie Milay, and created by the ensemble, opened last night in The Theatre Centre Incubator.

In a post-apocalyptic world where climate change has destroyed the planet and forced the population to live under protective domes, the queer community gathers to dance and celebrate at Dome Pride. Growing increasingly disillusioned and disappointed about the over-the-top corporate branding and ownership—not to mention the $17 bottled water—and mainstream packaging of the event meant to “normalize” queer culture, a group of young BIPOC and 2LGBTQ women and non-binary youth decide to blow this corporate logo-ridden popsicle stand and search for a better place. Hijacking a spaceship on display at the event, and joined by the chirpy host inspired by their cause, they venture out to explore worlds beyond to find a place where they can feel safe and welcome. The trip brings some twists, turns and revelations as they share and discover themselves.

The bright, energetic and engaging ensemble includes Jericho Allick (mentored by Neema Bickersteth), nevada jane arlow (mentored by Susanna Fournier), Alice Cheng Meiqing (mentored by Courtney Ch’ng Lancaster), Lyla Sherbin (mentored by Avery Jean Brennan), Fio Yang (mentored by Maddie Bautista), Whitney Nicole Peterkin and Megan Legesse; with additional writing by Taranjot Bamrah, A.C., Daniella Leacock and Claudia Liz. Incorporating music, poetry and monologues, the performers invite us into their individual worlds as they share memories and lived experiences—for better or worse. There is pain, longing and shame—but there is also resilience, ferocity and hope; all peppered with astute and darkly comic acknowledgments of the negative impacts of extreme climate change and the corporate branding of events that were once community-organized, grassroots movements.

While they may leave the Dome feeling like a spaceship full of misfit toys, the group ends up finding community and chosen family—and faces the choice of returning home or continuing their off-world exploration. Nicely book-ended by songs performed by Fio Yang, you may find yourself humming Out in the City as you leave the theatre.

Go where you are welcome—or take space where you like? In the end, home is where your family is, whether biological or chosen, and you can spark the change you want to see.

The Breath Between has three more performances in the Incubator space at The Theatre Centre, closing on August 16; check the show page for exact dates/times. Tickets available online or in person at the box office.

Love & hate, abandonment & connection in the searing, electric Fool for Love

Cara Gee & Eion Bailey. Set design by Lorenzo Savoini. Costume design by Shannon Lea Doyle. Lighting design by Simon Rossiter. Photo by Dahlia Katz.

 

Soulpepper Theatre presents a searing, electric production of Sam Shepard’s Fool for Love, directed by Frank Cox-O’Connell and running at the Young Centre. The shifting temperatures of love/hate and tenderness/cruelty take on new meaning, with the pairing of an Indigenous woman with a non-Indigenous man as the on again, off again lovers—who come together and tear apart, both individually and collectively, in this rough and gentle dance of connection, abandonment, rage and desire.

In a cheap, grotty motel room in the Mohave Desert, May (Cara Gee) and Eddie (Eion Bailey) play out their ongoing cycle of of love, hate, abandonment and connection in a relationship that has come together and broken apart since they were in high school. Fiery, furtive—and playing off each other’s emotional and mental states—the power dynamic shifts as one pulls it together and the other falls apart. Explosions of jealousy, rage and recrimination reveal the simple, awful truth that they can’t live with or without each other.

Watching from the sidelines is the Old Man (Stuart Hughes), a father—a memory or a ghost?—observing the scene, and offering comments and advice from his rocking chair on the sand as he drinks Jack Daniels from a Styrofoam cup. Then, entering this love/war zone is local lawn maintenance guy Martin (Alex McCooeye), there to take May out to the movies. Initially interrogated by Eddie, he becomes an unwitting confessor as Eddie reveals how he and May met—and the nature of their connection.

Outstanding work from the entire ensemble in this intense, fly-on-the-wall look at a deeply complex, conflicted relationship. Gee is both fierce and vulnerable as May; wounded, wary and loving Eddie so much, but refusing to take it any more, May wants him to leave and to stay, to have him and move on. She also doesn’t want to be a dirty secret like her mother. Bailey balances Eddie’s cocky cowboy and hurt little boy; with a family history of abandonment and an unfulfilled longing to connect with an often absent father, he struggles to be his own man—all with the painful realization that he can’t be with May, nor can he quit her. The casting of an Indigenous woman and non-Indigenous man in this production highlights ongoing issues of colonization of Indigenous women’s bodies and minds; and the lies the white-dominated patriarchy feeds to white boys—about women and what they’re entitled to—when only certain white men actually benefit from this system. (Be sure to read Gee’s Artist Note at the front of the program for her lived experience and experience working on this production, as well as shared insights on these themes.)

Hughes and McCooeye provide arms-length—though very different—perspectives of the May-Eddie dynamic. Hughes brings a grizzled, cynical, even haunting vibe as the Old Man; revealing his own life as he reveals theirs. McCooeye’s performance as the sweet but dim Martin rings of a small-town, child-like innocence, and provides some much needed comic relief. There for a simple date at the movies, Martin winds up as a witness to the latest skirmish in Eddie and May’s relationship, and confidante to their personal history together.

With shouts to the design team for their part in creating an environment of heightened realism for this production: the gritty, sparse motel room set (Lorenzo Savoini); regional costuming that is both seductive and practical (Shannon Lea Doyle); the lighting effects that give the room a neon, then a fiery, glow (Simon Rossiter); and sound design and composition (Andrew Penner) that provide both atmospheric highlighting and practical punctuation to the action. And there’s live music, created on the dobro with slide, nicely done by Hughes.

Love as a cycle of possession, addictive desire, oasis, war zone and even shame—it’s easy to see why these lovers can’t be together, yet can’t be apart.

Fool for Love continues at the Young Centre, the run extended to August 11; advance tickets available online, or by calling the box office at 416-866-8666 or 1-888-898-1188. Advance booking strongly recommended; I saw it on a Tuesday night and it was sold out.

Dancing in the key of life in Kaeja d’Dance’s joyful, moving, dynamic Porch View Dances 2019

PORCH 2: Lifesongs (Her Mixtape’s a Masterpiece), choreographed by Shannon Litzenberger. Kirsten Boer, Marion Oliver, Lori Pacan, Evelyn Sham and Myriam Zitouni. Photo by Cate McKim.

 

Kaeja d’Dance opened its 8th annual Porch View Dances, presented in and around Seaton Village in the Annex neighbourhood of Toronto (starting at 92 London St.) last night. Part walking history tour, part magical outdoor dance performance, part storytelling, the evening’s festivities feature amateur and professional dancers. The audience is shepherded by the affable top hat-wearing host and tour guide, Maurycy, who takes us through the neighbourhood to the various porch and vignette venues—all winding up at Vermont Square Park, where everyone is invited to dance. It is a joyful, moving and dynamic evening of movement and expression.

PORCH 1: Sipikiskisiwin (“Remembering Well”), choreographed by Aria Evans and created with/performed by Jim Adams. For the third year in a row, Jim and Owen Adams, an Indigenous father and son, have embarked on a PVD series of what it means to be an Indigenous family in the city. This year, they will be creating a piece for Jim to perform about dreams, memory and loss.

Incorporating movement and ritual, a moving piece of longing, connection and remembrance.

PORCH 2: Lifesongs (Her Mixtape’s a Masterpiece), choreographed by Shannon Litzenberger; created with/performed by Kirsten Boer, Marion Oliver, Lori Pacan, Evelyn Sham and Myriam Zitouni. A unique group of friends and strangers unite in their shared love of dance, art and community. They are looking forward to strengthening existing friendships and making new ones.

Kindred spirits sharing life, love and music in a celebratory porch party atmosphere.

PORCH 3: Comme un Enfant (“Like a Child”), choreographed by Karen and Allen Kaeja; created with/performed by Ilana and Ahava Bereskin. A mother/daughter duo are looking forward to a magical bonding experience and sharing their dance with the community; while their story is unique, the themes are universal and will resonate with all.

Tender and playful, a mother and daughter delight in each other, dancing, playing and exuding pure joy.

POP-UP VIGNETTES: Dearest Love (Parts 1-3) world premiere, choreographed by Mateo Galindo Torres; and performed by professional dancers Taylor Bojanowski and Mio Sakamoto.

An unusual and delightful love story emerges between a woman and a dress on a dress form, as we encounter this magical tale in three parts, in between porch dances.

Last night’s event also included the very cool unveiling of the Porch View Dances Lane street sign (across the street from the meeting place at 92 London Street).

It’s a lovely way to spend an evening, walking through a beautiful, historic neighbourhood and witnessing the joy, poignancy and creativity of expression in movement and dance.

Porch View Dances continues until July 21, with performances Thurs-Sat at 7:00 pm and Sunday at 1:00 pm. Tickets are Pay-What-You-Want.

Department of corrections: One of the dancers in Dearest Love was previously incorrectly identified as Caryn Chappell. It’s actually Taylor Bojanowski; this has been corrected.

Here are some pix I took at last night’s opening.

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Toronto Fringe: Stepping into the mind of a Ulysses character in the playful, bawdy, theatrical Molly Bloom

Lena Maripuu, Jenna-Lee Hyde, Reanne Spitzer & Annie Tuma. Photo by Jocelyn Adema.

 

Forth Gorgon Theatre takes us into the mind of Molly Bloom in Jocelyn Adema’s playful, bawdy, theatrical adaptation of the final chapter of James Joyce’s Ulysses in Molly Bloom, directed by Adema and running in the Helen Gardiner Phelan Playhouse.

Four actors play various aspects of Molly’s psyche (Jenna-Lee Hyde, Lena Maripuu, Reanne Spitzer and Annie Tuma) as she tosses and turns, her brain electric with tumultuous thoughts and memories at 3 a.m. A sexually-charged being, married to Leopold for 16 years, Molly hasn’t had sex with her husband since the death of their son 11 years ago. The internal monologue is externalized through dialogue, monologue, synchronized and individual movement, and vocals in unison and harmony; the rapid-fire discussions and musings range from gossip, love, lovers, sex, birth, suspicion, infidelity and attraction. Memories of her new-found sexual power: the relishing of kisses, the union of bodies, her blossoming breasts, and the hard and soft dichotomy of the penis; and her afternoon lover Hugh. These contrasted with her disdain of and trash-talking about men’s sexual appetites and failings; and suspicions of Leopold’s infidelity.

The fabulous foursome ensemble is a delight. Performing with exuberance (and I saw a 10 p.m. show), playfulness and sharp wit—going from delicious gossip to suspicious rage and sensuous memory—all rounded with a sharp, sardonic, bawdy sense of humour and a slumber party atmosphere. Each actor highlights an aspect of Molly’s personality: Hyde’s ferocity, Maripuu’s pragmatism, Spitzer’s playfulness and Tuma’s sardonic edge—all played out with commitment, good humour, mischief and youthful energy. The action is nicely complemented by Beatriz Arevalo’s set and costume design; the sensuous quality of the bed, covered with a mountain of multi-coloured pillows, surrounded by light translucent curtains, contrast with the more chaste pajamas. And the pre-show thunderstorm soundtrack mirrors the torrential storm and power of Molly’s thoughts and feelings, a peek into the action to come.

Don’t worry if you haven’t read Ulysses (I haven’t); the program provides descriptions of the characters Molly references, along with a brief history of her life.

Molly Bloom continues at the Helen Gardiner Phelan Playhouse until July 13; check the show page for exact dates/times and advance tickets.