Tea time at the end of the world in the surreal, intimate, unsettling Escaped Alone

Clockwise, from bottom left: Brenda Robins, Clare Coulter, Maria Vacratsis & Kyra Harper. Set & costume design by Teresa Przybylski. Lighting design by Jennifer Lennon. Photo by Cylla von Tiedemann.

 

Soulpepper and Necessary Angel, with an all-female cast and production team, take us to the edge of calamity—in a suburban backyard where four 70-something neighbours chat over tea before the impending apocalypse—with the Canadian premiere of Caryl Churchill’s surreal, intimate and unsettling Escaped Alone, directed by Jennifer Tarver and running at the Young Centre.

Gathered in a backyard, Mrs. Jarrett (Clare Coulter), Vi (Brenda Robins), Lena (Kyra Harper) and Sally (Maria Vacratsis) share gossip, memories and catch up. There are children and grandchildren to update about, and changes to the landscape of local shops to recall and relay—especially for Vi, who’s been away for six years. And amidst the candid and intimate conversation, where one can finish another’s sentence and the short-hand is such that sentences sometimes don’t even need to be finished, each woman breaks out to share her inner world. Her fears, her regrets, her reminiscences.

It is in these moments that we see another side of these otherwise sociable, animated women. Mrs. Jarrett is a walking, talking 21st century Book of Revelations, in which the everyday and the terrifying combine in an absurd, horrific and dark-humoured alchemy. Vi, a hairdresser by trade, may or may not have killed her husband in self-defence; and, while Sally acknowledges the complexity of their situation, she has a different take on that fateful moment. Sally struggles with her own demons: her efficacy in her career as a health care professional and her fear of cats. And the sensitive Lena looks back on her life as an office worker with mixed feelings of vague, wistful regret and amazement at time flown by.

Told through a collage of conversation, memory, musings and peaks into these women’s interior lives, the mundanity and complexity of everyday life—juxtaposed with the absurdity of meeting over tea in the face of impending catastrophe—is both darkly funny and chilling. The uncertainty of what comes next—whether it’s impending calamity threatening the world at large or the aging mind in a life of transition—while these four women are gathered together in friendship, each faces her mortality alone.

Compelling, sharply drawn work from the ensemble, from Coulter’s grouchy, pragmatic Mrs. Jarrett; to Robins’ edgy, irreverent Vi; Harper’s nervous, child-like Lena; and Vacratsis’ earnest, uneasy Sally. Teresa Przybylski’s minimalist set combines four ordinary, but different, chairs with hundreds of white paper birds, frozen in murmuration, suspended above; and is nicely complemented by Verne Good’s understated, haunting sound design. The effect is magical, disturbing and ultimately theatrical.

Escaped Alone continues at the Young Centre until November 25. Get advance tickets online or call the box office: 416-866-8666 or 1-888-898-1188.

Check out the production teaser:

And have a look at this great Intermission piece by actor Maria Vacratsis, as told to Bailey Green.

Advertisements

The bittersweet rhythms of life in the wistful, nostalgic, entertaining Dancing at Lughnasa

Opening its 2018-19 season at Alumnae Theatre last night, the Toronto Irish Players take us to 1936 Donegal, and the rural home of the Mundy family as they struggle with life, love and changing times, in their wistful, nostalgic and entertaining production of Brian Friel’s Dancing at Lughnasa, directed by David Eden.

A bittersweet memory play, we’re hosted by narrator Michael (Enda Reilly), who was raised by his single mother, spirited, irreverent Christina (Lauren McGinty) and her four sisters. Their parents dead, the eldest resident sibling and local school teacher, the prim and proper Kate (Erin Jones) is the de facto matriarch; family clown Maggie (Rebecca De La Cour) looks after the small family farm; and the quiet Agnes (Donna O’Regan) and simple-minded Rose (Áine Donnelly) earn money by knitting gloves.

The return of their brother Father Jack (Ian McGarrett), sent home from his mission in Uganda by his superiors, both causes and coincides with significant changes in their lives and position in their home village of Ballybeg—especially lending truth to the rumour that Jack was dismissed for “going native” and adapting, in the eyes of the Catholic Church, a too familiar and accepting attitude of local custom and ritual. Industrialization is catching up with rural Ireland, and factory-made goods are putting handwork at risk. Ongoing, if not sporadic, visits from Michael’s father Gerry (Sean Gilheany), a Welsh wanderer turned gramophone salesman, give the family—especially Christina and Michael—rare and welcome glimpses of the possibility of hope for something better; and a brief respite from the dullness of their workaday lives and the stresses of making ends meet during the Depression.

The family’s individual and collective history is both merry and melancholy; and lives are forever changed by forces largely beyond their control. And while Michael acknowledges the hard times of struggle, sacrifice and loss, he takes heart from the good times the family shared together—the love, laughter and dancing around the Marconi wireless. The rhythms of life, love and changing times.

Lovely work from the cast in creating this intimate family story. Reilly’s Michael makes for an affable and animated host; and he’s especially adept at conjuring the wide-eyed, precocious and imaginative child Michael. De La Cour is a treat as the feisty jokester Maggie; using humour to cheer and diffuse tension, her glass-half-full perspective is also crucial to her own survival. O’Regan and Donnelly have a beautiful rapport as the BFF sisters, the unassuming, protective Agnes and the child-like, naive Rose, who both come to show there’s more than meets the eye when it comes to notions of romance. McGinty gives a well-rounded performance as the conflicted young mother Christina; the family beauty, and raising the love child of a man she hardly ever sees, Christina’s youth has been interrupted by the more pragmatic concerns of a single mother—and in a time and place that frowned upon women like her. In classic Irish matriarch fashion, Jones’s Kate says as much with a look or gesture as she does with a word; having missed on romance herself, Kate’s stern disposition also a masks a broken heart.

McGarrett gives a poignant performance as the sisters’ brother Father Jack; once the golden boy of the family and the village, Jack has returned, frail and barely recognizable, and hardly knowing his own hometown. And Gilheany gives a charming turn as Gerry; a man of the road who loves to love, Gerry means well, but has trouble with the follow-up.

With shouts to the design team for their evocative work in transporting us to this nostalgic Depression-era world of memory and family in rural Donegal, Ireland: Chandos Ross (set), Livia Pravato (costumes), Karlos Griffith (lighting) and Dan Schaumann (sound).

Dancing at Lughnasa continues on the Alumnae Theatre Mainstage until November 3; advance tickets available online or by calling 416-440-2888. Keep up with The Irish Players on Facebook and Twitter.

Playfully whimsical, profoundly poignant & sharply candid ruminations in Dawna J. Wightman’s honey be

halfwightmanface

Dawna J. Wightman. Photo by Vince Lupo.

 

Montreal-born Dawna J. Wightman is an award-winning Toronto-based actor, playwright and writer. Toronto audiences will recognize Wightman from her solo show Life as a Pomegranate, as well as Yellow Birds (Alumnae Theatre’s FireWorks Festival, 2015) and A Mickey Full of Mouse (Buddies in Bad Times Theatre, 2016 and Toronto Fringe, 2017). She’s currently working on adapting her unpublished dark fantasy novel A Yarn of Bone & Paper, based on her ebook: Faeries Real & Imagined: How to Create Magical Adventures for Very Young Children, into a feature film. She’s also working with director Theresa Kowall-Shipp on her short Kid Gloves, set to shoot November 2018.

As part of the funding process for Kid Gloves, Wightman self-published and sold honey be, “a collection of sweet words and some that sting,” including hand-painted covers and “surprises” stuffed inside. The first 50-volume print run sold out in about a week; and a second run will be available this month, featuring cover art design by Wightman’s daughter Sabine Spare.

Much like Wightman’s theatre work, the stories, poems and snippets in honey be range from playfully whimsical to profoundly poignant to sharply candid—often all in the same story and sometimes autobiographical in nature. While there are no titles, each piece bears an italicized post-script at the end; in some cases, these take on a conversational and even self-deprecating tone, making for a personal, intimate read.

The themes of family, motherhood and friendship come up in several pieces. There’s the story about Mrs. Kay, written from the perspective of a precocious, neglected eight-year-old who finds a home with fellow misfit schoolmate Sandra Kay and her quirky family; and the goofy four-legged family member Bella in just a dog. Reminders that family can sometimes be found in unexpected places—and to never judge a book by its cover.

There’s heart-wrenching nostalgia with an ode to her son in little boy; and remembrances of wearing an itchy baby blue Phentex dress and being her mother’s go-fer at the bingo hall, in pretty little head. And the heartache and fumbling for what to say to a friend living with cancer tumble out in the visceral when we found out you had cancer and in the outpouring of loving, supportive words in the piece that follows.

Ruminations on body image and aging come up as well, from the erotic in late summer, to the sharply candid and calling bullshit on the ridiculous expectations placed on women’s bodies—professionally and personally—in tits and ass and #chubbyprettywoman, and the #MeToo shock of new neighbour.

Quirky, bittersweet, child-like grown-up, all of the stories in honey be are tinged with humour and poignancy, and the everyday acknowledgement of life’s remarkable moments. And one gets the sense that, beyond coming from a place of truth telling—there’s a deep longing to share these words. There’s a line in the movie Shadowlands, from a C.S. Lewis quote: “We read to know we are not alone”—one could easily also say “We write to let others know they are not alone.”

Copies of honey be will be available for $20.00 via emailing wightrabiit@gmail.com; website coming soon. Wightman will be performing a reading from the book at Stratford’s SpringWorks Festival on October 11.

 

SummerWorks: Memory, nostalgia & queer men longing to connect in the quirky, charming, poignant Box 4901

Thirteen letters responding to a 1992 gay personals ad sit in a box unanswered. What does the recipient say to these men 26 years later? Memory, nostalgia, connection and hindsight figure prominently in timeshare productions’ SummerWorks presentation of novelist Brian Francis’ autobiographical Box 4901; directed by Rob Kempson and running on the Theatre Centre’s Incubator stage.

Long before the age of smartphones and Grindr, a 21-year-old Francis—then a student at the University of Western Ontario—posted a personals ad in The London Free Press looking for a connection in the small LGBTQ world of conservative London, Ontario. Of the approximately two dozen letters he received, 13 went unanswered and were discovered years later. Francis narrates and responds as 13 queer actors perform each letter.

Featuring actors Bilal Baig, Hume Baugh, Keith Cole, Izad Etemadi, Daniel Krolik, Michael Hughes, Tsholo Khalema, Eric Morin, G Kyle Shields, Chy Ryan Spain, Jonathan Tan, Chris Tsujiuchi and Geoffrey Whynot, the responses to the ad range from the bashful to the pornographic. Coming from a variety of men—ranging in age from high school senior to father figure—from various walks of life (“regular guy,” teacher, farmer, jock, “straight-acting,” leather community), the letters are sassy, charming, eloquent and humourous. The replies are frank, witty, sharply observational; and tempered with kindness, and the hindsight of age and wisdom.

There are some missed chances and missed bullets. All of these men share the same desire to reach out; longing for connection and a cure for aloneness, there’s a vulnerable authenticity in even the cockiest of responses. And the fear of being outed to family or housemates is as palpable and strong as the excitement and anticipation of a new connection.

Box 4901 has one more SummerWorks performance at the Theatre Centre on Aug 19 at 4:45 p.m.; it’s already sold out, but you can try your luck by arriving early to see if there are any no-shows.

Secrets & dark suspicions in the eerie, Gothic family drama Gripless

GriplessCastBWStanding: David Huband & Amber Mackereth. Seated: Margaret Lamarre.

 

Green Garden Equity Artist Collective gives us a disturbing tale of family secrets and dark suspicions in Deborah Ann Frankel’s eerie family drama Gripless; directed by Frankel and on now for a short run at Red Sandcastle Theatre.

On a stormy night in a small town, brother Ben (David Huband) and sister April (Amber Mackereth) bring their mother Elaine (Margaret Lamarre) home from a birthday celebration dinner in honour of their deceased father Daniel. Uncomfortable and anxious to leave, intimidating younger sister April appears to be the alpha to her more easy going older brother. But try as they might to leave their family home, something Elaine says keeps drawing them away from the door and back into the living room.

As the action unfolds, we learn that Elaine remarried about a year after Daniel’s death; an abusive brute of a man named Tim, who recently had a stroke. We get the sense that there are some uncomfortable unsaid truths in the closet of this family’s history; and memories shift from nostalgic reverie and childhood shenanigans to disturbing discoveries and suspicions—hinting at a troubling and violent dynamic.

Compelling work from the cast in this unsettling, spooky story of family dysfunction and conflicting perspectives. Lamarre’s Elaine is damaged, adrift and also manipulative; poignant yet unsettling, Elaine’s selective memory targets only the happy moments and she seems oddly disconnected from what’s happening right in front of her. As April, Mackereth’s tough-talking, bully exterior masks a deeply hurt, vulnerable child; unforgiving with her mother, April has tender feelings for her big brother, the only one who’s ever been on her side. Huband’s Ben is the perfect foil for Mackereth’s April; wry-witted, quiet and introspective, Ben is clearly the peacemaker in the family—but even his easy-going demeanour gives way to moments of haunted reflection.

Writer/director Frankel, who folks will recognize as Red Sandcastle’s intrepid SM, will be taking over as General Manager when AD Rosemary Doyle heads to Kingston in August as the new AD of Theatre Kingston; multitasking in this production, she’s also juggling box office and SM duty in booth—and created one heck of a dark, atmospheric set and soundtrack.

Gripless has two more performances at Red Sandcastle Theatre: tonight (July 22) and tomorrow (July 23) at 8 p.m.; book tickets in advance at deborahannfrankel@gmail.com or pay cash at the door.

Fearful & alone in loss, love & trying to find meaning in the edgy, philosophical, quirky Thom Pain

Owen Fawcett. Photo by Nicholas Marinelli.

 

Theatre By Committee opened its production of Will Eno’s Pulitzer Prize-nominated Thom Pain (based on nothing), directed and designed by Hannah Jack, and assistant directed by Brandon Gillespie, at Hub 14 last night.

Starring Owen Fawcett, Thom Pain explores fear, loss and the profound, regret-filled sense of being alone. Speaking directly to us throughout, Thom—alone, extremely well-educated and deeply wounded—slip slides, stagger glides, and otherwise careens and halts inside his own story as he stumbles, ruminates and struggles to piece together bits of memory, personal narrative and fleeting thoughts. Philosophical, cerebral, visceral and primal, he’s an extremely intelligent guy academically but not emotionally; and there’s a poetic ferocity to his mental thrashing about, and a lost boy quality to the way he occasionally lashes out. And immediately apologizes.

Fawcett gives a compelling performance as we follow Thom down the rabbit hole of his psyche. Entertaining and charming in an awkward, quirky sort of way, Thom teases and mocks, riding the edge of cruelty without descending into it as he tells these dark stories. Stories of childhood, childhood loss and loneliness; stories of love and loss of love and aloneness. There’s an awkward poignancy to his self-conscious, self-analyzing, self-deprecating delivery—and Thoms’s weary, often distracted, journey through thoughts and memory connects and resonates in such a way that we really believe him whenever he points out that we’ve all been there. And, like him, we’ve all had moments of beauty and moments that destroyed us—and we’re all trying.

The very intimate space at Hub 14 puts the audience up close and personal with this performance; but don’t worry, Thom is respectful of your space.

Fearful and alone in loss, love and trying to find the meaning of it all in the edgy, philosophical, quirky Thom Pain.

Thom Pain (based on nothing) continues at Hub 14 (14 Markham Street, Toronto) till April 8. It’s a weekend-long run, with performances tonight (April 7) at 8:00 pm, and tomorrow (April 8) at 2:00 p.m. and 8:00 p.m. It’s also a very intimate space with limited seating. Get your advance tickets online.

The impact of stories drawn from love & memory in TPM’s genuine, funny, haunting The Drawer Boy

Andrew Moodie, Craig Lauzon & Graham Conway. Set and costume design by Joanna Yu. Lighting design by Michelle Ramsay. Photo by Michael Cooper.
Theatre Passe Muraille (TPM) opened its remount of Michael Healey’s The Drawer Boy, directed by Factory Theatre AD Nina Lee Aquino, assisted by Cole Alvis, to a sold out house last night. Originally produced by TPM in 1999, Healey’s beloved hit returns to the TPM stage as the theatre celebrates its 50th anniversary.

Set in the early 70s in Southern Ontario, The Drawer Boy hearkens back to another famous TPM production: The Farm Show, created by Paul Thompson and a collective of artists who went down to live and work with area farmers as they created a play about the place and its people. Miles (Graham Conway) is one of these young Toronto actors, and he nervously arrives on the doorstep of Morgan (Andrew Moodie) and Angus’s (Craig Lauzon) farm house, looking for a place to stay, work and learn about farming so he can contribute to the writing and performance of the play.

An odd yet complementary couple of middle-aged bachelors, Morgan and Angus have been friends since childhood, serving together in WWII, finding wives in England and returning to their hometown to set up a farm together. The truly remarkable thing about their relationship is the organic dynamic of Morgan acting as Angus’s memory. Now living with an Acquired Brain Injury after surviving a shell explosion in London, Angus now lives entirely in the present, his memory a sieve; but he’s a wizard with numbers and takes care of the farm’s accounting. Morgan uses stories to remind Angus of their shared past: he is the Farmer and Angus is the Drawer Boy, and they met and fell in love with two tall English girls.

As hard as Miles struggles with farm work, including some hilarious mishaps with equipment and an eye-opening experience spending time with livestock (resulting in a gut-busting impression of a frightened cow), he struggles even harder to write stories for the play. Until he overhears Morgan telling Angus their life story—and he’s struck theatrical gold. When the two farmers attend an invited rehearsal, though, the reactions are markedly different: Angus is delighted and Morgan is infuriated.

Terrified of not having something good to contribute to the play and fearing he’ll be cut from the collective, Miles’ drive and ambition to get a good story puts him in the position of becoming the unwitting catalyst for, and witness to, emerging memories and revised storytelling for Morgan and Angus. Their shared story is not as fairy tale as Morgan originally painted. And the impact of the true story is both revelatory and devastating; highlighting how the choices we make as we create our own life stories touch the lives of others, particularly the ones we love the most, in positive and negative ways.

Lovely, nuanced work from these three actors in this moving, haunting and revealing tale of love, memory and the impact of the stories people tell. Lauzon brings a delightfully child-like sense of wonder to the star counting math wizard Angus; and yet there’s also a troubled, lost quality about Angus as he paces around the house, searching for something he can’t remember. Moodie is both lovable and intimidating as the gruff Morgan; a matter-of-fact man’s man who suffers no fools, there’s a broken-hearted, gentle soul beneath Morgan’s gruff exterior. Extremely patient and caring with Angus, a man of few words becomes a magical storytelling memory maker for his friend, who he clearly loves dearly. And while city boy actor Miles could easily become a clueless caricature, Conway gives him a sharp, desperate sense of ambition and a hilariously satirical edge. And though we may be skeptical about how genuine Miles is in his desire to connect with this world and these people, there’s no doubt that he comes to feel the full impact of the devastating truths he’s unleashed.

With big shouts to the design team, for their beautiful, evocative work: Joanna Yu, whose set combines realism and abstraction, with expressive charcoal drawing flats hanging above and around the vintage farmhouse kitchen and porch; and costume design perfectly suiting the working farm men and the clueless young city boy, who arrives to work in cut-offs, polo shirt and runners. And to Michelle Ramsay’s magical lighting design; and Michelle Bensimon’s timely and haunting sound design and composition.

The Drawer Boy continues in the TPM Mainspace until March 25; get advance tickets online or by calling the box office at: 416-504-7529.