The uniforms of home on faraway grass in the funny, moving The Men in White

Chanakya Mukherjee & John Chou. Set and lighting design by Steve Lucas. Costume design by Lindsay Dagger Junkin. Photo by Joseph Michael Photography.

 

Factory Theatre opens its 49th season with Dora award-winning playwright Anosh Irani’s funny and moving The Men in White, directed by Philip Akin, assisted by Miquelon Rodriguez. Set in both India and Canada, a struggling Vancouver cricket team needs a miracle to put an end to a humiliating losing streak—and one team member’s little brother back home might be just the ticket. Now, the team just needs to agree on the plan and find a way to get him over from Mumbai.

Taken in as a child by family friend Baba (Huse Madhavji, who fellow Saving Hope fans will recognize as neurosurgeon Dr. Shahir Hamza) along with his older brother Abdul following the death of their parents, 18-year-old Hasan (Chanakya Mukherjee) works as a chicken cutter in Baba’s shop in the Dongri neighbourhood of Mumbai. As he executes and dismembers chickens, his heart and mind are set on becoming a professional cricket player and capturing the attention of pretty local pre-med student and customer Haseena (Tahirih Vejdani). These dreams are a stretch, as he’s a relatively uneducated working class orphan living and working in a tough neighbourhood—and his extreme awkwardness has him constantly putting his foot in his mouth around Haseena. On top of that, Haseena has also caught the eye of a cool motorcycle dude with ties to a local gang.

MeninWhite-Tahirih Vejdani, Chanakya Mukherjee, Huse Madhavji photo by Jospeh Michael Photography
Tahirih Vejdani, Chanakya Mukherjee & Huse Madhavji. Set and lighting design by Steve Lucas. Costume design by Lindsay Dagger Junkin. Photo by Joseph Michael Photography.

Over in Vancouver, Hasan’s older brother Abdul (Gugun Deep Singh), who cooks for and lives in the back of an Indian restaurant, has found home with a local cricket team comprised mainly of South Asians. But the team can’t seem to shake a brutal losing streak, and on top of struggling to motivate his players—including on and off the field player Ram (Farid Yazdani) and the athletically challenged Sam (John Chou)—team captain Randy (Sugith Varughese) also finds himself navigating Doc’s (Cyrus Faird) anti-Muslim sentiment as he referees Doc’s outbursts against Abdul. And when Abdul suggests bringing Hasan, a gifted bowler and batter, over to save the team’s tarnished reputation, the team is faced with internal debate and the problem of sorting out how they’d even accomplish such a plan.

As Hasan and the team are both faced with being labelled “losers,” having him join the team appears to be a match made in heaven; and the prospect of having a chance to win for a change injects some much needed excitement and confidence all around. It also makes for some deep soul-searching about religious and cultural tensions, and why they play cricket, as confessions and revelations of hard realities emerge. Some play cricket because it reminds them of home, some play to forget, some play to belong, and some play to rise above the dullness of a workaday life and tragic lived experience.

Stand-up work from the ensemble in this story of family, life and belonging. Madhavji is a laugh riot as the testy Baba; and though he’s highly adept at mercilessly teasing Hasan, Baba has a good, loving heart under that cranky exterior. Mukherjee’s Hasan is an adorkable combination of gritty determination and hopeless awkwardness; particularly in his scenes with Vejdani, whose intelligent and sharp-witted Haseena is matched by her equally barbed retorts—Haseena is no wilting flower and suffers no fools.

MeninWhite-JohnChou, SugithVarughese, CyrusFaird, FaridYazdani, GugunDeepSingh photo by Jospeh Michael Photography
John Chou, Sugith Varughese, Cyrus Faird, Farid Yazdani & Gugun Deep Singh. Set and lighting design by Steve Lucas. Costume design by Lindsay Dagger Junkin. Photo by Joseph Michael Photography.

The men in the locker room walk a fine line between comedy and tragedy as they deal with the underlying personal histories they bring to the struggling team. Yazdani’s devil-may-care bro/ ladies’ man Ram and Chou’s dim-witted, movie aficionado Sam make for some great comic relief. There’s more than meets the eye with these two, as Ram has government connections to assist with bringing Hasan over; and Chou, who’s Chinese and therefore an unlikely cricketer, got into cricket because of an Indian childhood BFF. Singh’s nicely understated performance as the unassuming Abdul mines the fading hopes and dreams of a man who left his home in search of a better life for himself and his brother—only to find broken promises and more hardship. Faird’s tightly wound, resentful, white-collar professional Doc is a perfect foil to Abdul; Doc’s animosity is underpinned by a tragic history and broken heart—and he has more in common with his perceived enemy than he would care to admit. All held together by Varughese’s aggravated but good-natured team captain Randy; despite the idle threats, Randy loves this Bad News Bears bunch of guys—and he has ghosts of his own to deal with.

With shouts to Steve Lucas’s clever and effectively designed set, which neatly splits the stage into Baba’s chicken shop and the locker room. The bamboo and chicken wire of the shop merge with the metal poles and chicken wire (standing in for chain link) of the cricket pitch locker room; Astroturf is incorporated into the checkerboard floor and a projected map of the world dominates up centre.

The Men in White continues in the Factory Theatre mainspace until November 4; advance tickets available online, or by calling 416-504-9971 or visiting the box office (125 Bathurst Street, Adelaide Street Entrance).

 

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Tracing identity through the sacrifices & dreams of matriarchal herstory in the moving, delightful, lyrical trace

Jeff Ho; set design by Nina Lee Aquino and Michelle Ramsay; lighting design by Michelle Ramsay—photo by Dahlia Katz

 

Factory Theatre, in association with b current performing arts, presents the world premiere of Jeff Ho’s trace, a multidisciplinary journey of family and identity, directed by Factory Theatre AD Nina Lee Aquino, assisted by Darrel Gamotin, and currently running in the Factory Studio space.

Written, performed and composed by Ho, trace is structured as a Piano Sonata, with Five Movements, plus a Prelude and a Coda. Featuring the three most influential women in his life, the storytelling weaves memories with family mythology and moments, travelling through time and across borders—taking family apart and reuniting them.

Starting in the present day, Jeff’s mother (Ma) Kwan Miu Chi (44 years old) returns home to Hong Kong with her eldest son, looking for a place to stay. She finds drastically different receptions from her grandmother (Jeff’s Great Grandma) Kwan Bo Siu (85 years old), who seems happy to see her, but proceeds to gruffly enlist her aid in ridding the apartment of rats; and mother (Jeff’s Grandma) Kwan Wei Foon (64 years old), who is decidedly chilly and resistant to having two more mouths to feed.

As the story shifts back and forth in time and place, we see the three women at various ages—and the world and circumstances that shaped them and their relationships with their children. As a young, single mother, Great Grandma Kwan Bo Siu fled the WWII Japanese invasion of China with her son to live in Hong Kong, where she faced new struggles to find work and survive. Grandma Kwan Wei Foon was 16 when she met her husband to be, receiving a scornful and cross introduction to his mother (Bo Siu); and subsequently garnering constant disapproval and always having to prove herself, and supporting her mother-in-law in her old age. And Jeff’s Ma Kwan Miu Chi, who left Hong Kong for Toronto in pursuit of a better life for herself and two young sons, was once refused tuition to go to school by her mother (Wei Foon). Finding support and commonality with her grandmother (Bo Siu)—who possessed mad skills and an ability to earn great sums at the mahjong table—she was able to pursue her education and chosen profession. And just as Wei Foon and Miu Chi battled over Mui Chi’s dream of becoming an accountant, the economically cautious, traditionally-minded Miu Chi goes on to butt heads with her youngest son Jeff, who eschews academics for the arts, especially the piano.

Ho, who gave us a lovely Ophelia in Why Not Theatre’s production of Prince Hamlet, does an equally beautiful job with these women, capturing their vulnerability, stubbornness—and ultimately determined strength as they ferociously carry on through tragedy and hard times. Charming, eloquent and a wonder on the keys, Ho shifts seamlessly between characters with precise body language and vocal qualities: the hard-talking, chain smoking mahjong Queen Great Grandma Kwan Bo Siu; the imperious, cold and distant Grandma Kwan Wei Foon; and the strict, practical, sharp negotiator Ma Kwan Miu Chi (who also inherited the maternal mahjong queen gene). Amidst the struggles for survival, family is of the utmost importance to these women. All are striving for a better life for themselves and their children—and keeping the line of caretaker from parent to child and back again intact.

The two pianos on stage play out the exquisitely beautiful, Piano Sonata-inspired framework of this story, composed by Ho—and stand in for the other characters the women encounter along the way. The Fifth Movement, played in the home key, is particularly heart-wrenching. During the talkback that followed the performance (hosted by Miquelon Rodriguez), Ho describes this as the most challenging aspect of performance: making the piano speak as a character so the interaction is as clear as possible.

trace is nicely bookended as we return to the present day. The revelations of family history, sacrifice and secret shame bring a painful sense of redemption and closure to the three generations of women—and the realization of why they are the way they are. For Ho, who combined fact, fiction and conjecture to create the piece, it is the story of the three women who made him who he is.

With shouts to Aquino and Michelle Ramsay for the elegant, multi-level platform set design; the black platforms with red legs evoking beautiful Chinese lacquer furniture.

Tracing identity through the sacrifices and dreams of matriarchal herstory in the moving, delightful, lyrical trace.

trace continues in the Factory Theatre Studio till December 3. Get your advance tickets online, by phone at 416-504-9971 or in-person at 125 Bathurst Street (at Adelaide St. W.).

Family, blood & sins of the father in the compelling, darkly funny Tough Jews

Maaor Ziv, Blue Bigwood-Mallin, Luis Fernandes, Theresa Tova, Anne van Leeuwen, G. Kyle Shields & Stephen Joffe in Tough Jews—photo by John Gundy

Leave the gun. Take the kugel.

Storefront Theatre is back, this time partnering with The Spadina Avenue Gang to mount the world premiere of Michael Ross Albert’s Tough Jews, directed by Storefront founder/co-artistic director Benjamin Blais and running at Kensington Hall in Toronto’s Kensington Market.

Tough Jews was Albert’s graduate project about a family of Toronto Jewish gangsters; and, although it’s set in the late 20s and early 30s, the play speaks to issues of anti-Semitic and anti-immigration/refugee sentiments that are relevant today, especially given the influence of the current administration to the south, and the rise in hate crimes targeting Jews and Muslims on both sides of the border.

Set in the basement speakeasy, downstairs from the family’s shop and home in Kensington Market, Act one opens in 1929 on Yom Kippur, 10 days before the stock market crash. Overseen by the widowed family matriarch Ida (Theresa Tova), brothers Joe (Luis Fernandes) and Ben (Blue Bigwood-Mallin) take care of the family business running booze downstairs, while Teddy (G. Kyle Shields) runs the legit business upstairs. Kid sister Rose (Maaor Ziv) and Ben’s American fiancée Marge (Anne van Leeuwen) watch from the sidelines. Downstairs business with Detroit’s Purple Gang goes south when hothead cousin Ziggie (Stephen Joffe) interrupts negotiations. This prompts Ben to come up with an idea to get Rose’s dope-dealing boyfriend Harry (who we never see), to get in on the action; despite the family’s disapproval of Harry, Ben hopes to placate the Purple Gang with new, hard-to-get product.

Act two jumps ahead four years to 1933, a couple of months after Hitler becomes Chancellor of Germany and shortly after the Christie Pits riot. Joe and Marge have been living in Florida, but his business was hit hard by the Depression, and he’s returned home to Toronto. Ben has also just come home, just released from jail; and Rose has a three-year-old and some serious domestic issues at her house. Teddy has taken over the speakeasy in the interim, but is now using it as a hide-out after his involvement in the Christie Pits riot.

Family secrets emerge throughout; and serious, changing situations prompt some equally drastic decision-making and choices. How far will a marginalized, oppressed and desperate people go in order to survive?

Stellar work from the entire cast in this immersive theatrical experience where the audience has a fly-on-the-wall view of the proceedings. Tova is hard as nails, hilarious and heartbreaking as Ida, who recalls in sharp, painful detail the oppression of her homeland and the hardship of an ocean crossing. The dreams of a better life destroyed by hate and oppression in a new country, Ida takes charge with pragmatism, grit and wry wit; and with a laser focus on turning the family’s fortunes around. Fernandes gives oldest brother Joe a nice balance of calculating professional and protective man of the house. Dog tired and struggling to keep the family business afloat, Joe must also manage the less than friendly relationship between Marge and his family.

Bigwood-Mallin brings a great sense of spark and ambition to Ben; the only one who really wants to be a gangster, Ben is genuinely excited to expand the business, make connections in the U.S. and make more money. Shields does a marvelous job with Teddy’s arc; as the bookish, observant kid brother, Teddy is torn between being a good man and seeing their legitimate family business survive, and the struggle to survive in a harsh, unfair world that leaves his family few options. By Act Two, he’s grown up a lot in those four years; a changed man, he sees what’s going on in Germany—and how prejudice and hate know no boundaries—and it sickens him.

Ziv’s Rose is an irreverent spitfire; an independent-minded and often neglected member of the family, Rose does her best to make a life for herself, but finds new challenges outside the safety of the family nest. Van Leeuwen brings a regal edge to the platinum blond, leggy Marge; a dancer when Joe first met her, she’s now set on becoming a respectable wife and looking forward to enjoying the good things in life. Unable to stomach Joe’s family business, however, she retaliates by putting on airs. Joffe gives Ziggie a menacing, lost boy edge. Taken in by his aunt Ida as a child, Ziggie’s grown up into a dangerous punk with some serious anger and impulse control issues; and his choices make him a liability to the family.

With big shouts to the design team Adam Belanger (set), Melissa Joakim (lighting), Lindsay Dagger Junkin (costumes), Angela McQueen (makeup) and Miquelon Rodriguez (sound) for their work on the evocative, immersive environment; and to fight director Simon Fon, and co-stage managers Justine Cargo and Andrea Miller. Throughout the production, corpses will be played by Kyle Bailey, Daniel Briere, Gabriel Hamilton and David Lapsley. The bartender makes a mean Manhattan, with the good Jack Daniels.

Family, blood and sins of the father in the compelling, darkly funny Tough Jews.

Tough Jews continues at Kensington Hall till April 16 (enter through the back alley—follow the sandwich board sign); full schedule and advance tix available online]. Book in advance for this one, folks; it’s a popular company and there’s a lot of well-deserved buzz about this show—not to mention the intimate venue. Warning: Show contains gun shots and smoking (herbal cigarettes).

In the meantime, check out Brittany Kay’s In the Greenroom blog interview with playwright Michael Ross Albert and actor G. Kyle Shields, with director Benjamin Blais dropping by.

Wonder Women & Super Men rock The Central in Wonder Women 2013 fundraiser

Big fun times with amazing artists and friends at The Central on Saturday night for LMG Productions’ Super Wonderful New Year Kickoff fundraiser for the upcoming Wonder Women 2013 festival in March. Organizers and hosts Arlene Paculan and Kat Leonard (aka Musedy Tag Team) treated us to some tunes, including their new Michael Jackson mash-up, and some kick-ass raffle prizes, including CDs from participating artists and tickets to the upcoming Wonder Women concert on March 8.

This was one incredible party – and we were moved, rocked and amazed by feature acts of Wonder Women and, for the first time, Super Men – check them out:

Asleep in the Machine

Dread Eye

Matt Gerber

Linda Inthahack

Miquelon Rodriguez

Candice Sand

Supertash

Lizzie Violet

It was a reunion of sorts, and I got to see folks I hadn’t seen in a while, including some of the incredible open mic guests: Angela Saini, Meghan Morrison, Alyssa Vox Raw, Aynsley Saxe (who I finally got to meet in person after our ongoing chats over Twitter), JP Saxe and the Four Winds (Arlene Paculan, Heather Hill, Kat Leonard and Meghan Morrison, who got together on Hill’s song “27”), among others. Hanging out with these folks was like being enveloped in a big, warm hug – such an inspiring and supportive group of artists, family, friends and fans. With thanks to The Central staff for keeping us fed and beered all night. And, damn, those boneless chicken wings are good!

Shout out to Ellie Anderson, who was set to feature but was off sick. Hope you’re feeling better today, lady. And I was sorry to miss Candice Sand’s set, but it was getting late and I had some commitments on Sunday that required a good night’s sleep (more on that later).

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Linda Inthahack
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Arlene Paculan & Kat Leonard
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Angela Saini
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Supertash
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Matt Gerber
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Miquelon (aka Mickey) Rodriguez
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Dread Eye
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Aynsley Saxe
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Lizzie Violet
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Alyssa Vox Raw

This year, the Wonder Women fest will be a week long, happening during International Women’s Week (very fitting): March 4-8. The fest will include two concerts: Super Men (at The Central on March 7) and Wonder Women (at The Gladstone Hotel on March 8). Stay tuned for more details!