Marriage is hard work, with dozens of infuriating, mind-numbing decisions and situations to navigate every single day. For the duration of the Toronto Fringe fest, bick/antzis are here to help as they present Settle This Thing; created and performed by real-life married couple Tamara Bick and Drew Antzis, and on now in the Tarragon Theatre Extraspace.
Part improv, part TedTalk, part audience participation, Settle This Thing is a hilariously sharp and brutally honest multi-media look at the challenges of married life. Using the democratic process of audience votes to decide on issues facing their marriage, Tamara and Drew tackle everything from matching tattoos, to taking sides with/against a mother-in-law, to teaching their kids about lying. In return, and armed with scientific(ish) facts, they will provide you with coping skills and tools to navigate your relationship, deal with those in-laws and raise your kids.
It’s a whole lot of fun in 60 minutes of laugh-filled decision-making and strategizing. And the best part is: You’re deciding an issue for someone you’re likely never going to see again!
Settle This Thing continues in the Tarragon Extraspace until July 14; check the show page for exact dates/times.
When we enter the theatre, we find ourselves in the Flying Canoe pub on New Year’s Eve, greeted by members of the band/cast and availed of bar service – when our narrator Lucy (Ghazal Azarbad) emerges to tell us a tale of the Chasse-Galerie, a folk tale of a wild hunt in which those caught up in its path join the hunt forever.
On another New Year’s Eve, four coureuses des bois (i.e., female lumberjacks) are cold, exhausted and nearly out of whiskey. Alex (Tess Benger) longs to see her sweetheart, the lovely golden-haired fiddle player Jaune; Lea (Nicole Power) misses her red-headed whiskey maker Michel-Paul; coincidentally, so does Michelle (Kat Letwin); and Toba (Shaina Silver-Baird) doesn’t have someone special, but pines for music and romance. Fondly remembering their favourite Old Montreal pub, The Flying Canoe, the four women are dying for a road trip. There’s just one problem: it’s a three-day trek.
Enter Damien (Tyrone Savage), disguised as a weary frozen stranger, who offers them a way to get their wish and travel to the pub in hours. But his magic comes with conditions and a price: they must not swear or touch a cross, and they must be back by dawn. If not, their souls belong to him.
The women agree to his terms and travel by magic flying canoe to Old Montreal; convinced they’ll be fine as long as they don’t drink – especially Michelle, who has the biggest potty mouth of them all. Alex sets off in search of Jaune (Alicia Toner), and Michelle finds the lusty Michel-Paul (Michael Cox) before Lea does. And Toba becomes smitten with the bashful band leader Francois (James Smith), who is equally taken with her and gives her a fiddle lesson. Meanwhile, Lea meets a handsome cowboy who speaks in Shakespearian verse (the angel Uriel in disguise, played by Hunter Cardinal). To ensure that he reaps those four souls, Damien enlists Lucy’s assistance to foil our four heroines at every turn.
All hell breaks loose in the pub and dawn is fast approaching. When all seems lost, Toba challenges Damien to a fiddle duel to save her friends. And you won’t believe what happens next!
Incorporating animation, puppetry, songs and folk dance – not to mention a butt load of Québécois swears, including a very catchy audience participation tune at the end of Act I – Chasse-Galerie is one big fun musical ride of adventure and friendship, featuring performances from an outstanding multi-talented cast. Everyone sings and everyone plays an instrument (in Smith’s case, more than one); the excellent band is rounded out by Justin Han (drums) and Jason O’Brien (bass).
Benger’s Alex is sweet and pious; she may be a virgin, but Alex is full of fierce passion and love for her Jaune. Letwin is hilariously irreverent as Michelle; hard-drinking and a master at cursing there’s a soft gooey centre beneath that tough exterior. Power’s bespectacled Lea is the level-headed brains of the group; and when she finds herself struggling with the prospect of lost love, she gets some unique advice from Uriel about what to do about her love triangle situation. Silver-Baird’s Toba is the peacemaker of the group; not expecting to find love at The Flying Canoe, she is put in the difficult position of choosing between her dream and making it home on time to save her own soul and those of her friends.
Savage is deliciously diabolical as Damien; comic and compelling, Damien’s dead serious when it comes to this deal – and he needs these souls as much as the four women want to keep them. Azarbad is cabaret sexy and delightfully mischievous as Lucy; our storytelling host and Damien’s right-hand minion, she excels at manipulation and even gets on a bit of romancin’ of her own.
With huge shouts to the design team for this remarkable, immersive environment: Lindsay Dagger Junkin (set and props), John Leberg (scenic magic), Holly Lloyd (costumes), Melissa Joakim (lighting), Andre Stankovic (sound) and Daniel Briere (projection and puppetry).
The Devil went down to Old Montreal. A singin’, dancin’, whiskey drinkin’ helluva good time in the foot stompin’, magical Chasse-Galerie.
Chasse-Galerie continues the Young Centre; get your advance tix online or by calling the box office at 416-866-8666. it won’t be there forever though – so what are you waiting for?
Update (Nov 17):The run of Chasse-Galerie has been extended, with new shows just added:
Moses Znaimer and Kat Sandler have teamed up for Zoomer LIVE Theatre’s inaugural production, the debut of Sandler’s Late Night(winner of Toronto Fringe 24-hour playwriting contest), currently running in ZoomerHall – a new space that will serve as a launch pad for intimate, multi-media indie productions. Located in a Liberty Village complex that’s also home to ZoomerMedia, ZoomerHall is part of ZoomerPlex (70 Jefferson Ave., Toronto), a multi-media production and event space.
Directed by Sandler, and produced in partnership with Theatre Brouhaha, Late Night opened on Thanksgiving weekend; I caught the show last night. As we enter the space, we’re greeted by the painfully shy intern Davey (Michael Misu), and a couple of audience members are invited to ask Marty some pre-programmed questions.
After 22 years hosting The Early Late Show, Marty O’Malley (Alon Nashman) is leaving the chair to young, fresh comic talent Sarah Goldberg (Kat Letwin), with a surprise reveal planned in his final show, broadcast live for the first time in the show’s history.
When the running order of the guests has to be changed, the reveal comes early. And when Sarah makes a joke about her and Marty, all hell breaks loose, exploding on social media and forcing longstanding exec producer Alanna (Maria Vacratsis) into emergency measures to appease a titillated and scandalized audience, and a confused bunch of network execs, pushing Sarah into a co-host position for the remainder of the show.
And when Sarah and Marty crack open Marty’s retirement present and begin chatting with guest Kevin Lee Hicks (Nigel Downer), things get really crazy – and the crazy gets turned up to 11 when Marty’s actress wife Vivienne Lawrence (Rachel Jones) shows up.
Sandler’s script goes for the jugular, hitting all the nasty facets of show business: ageism, sexism, racism, sizeism, homophobia and the myth of heteronormative, traditional relationships; not to mention sex scandals and the exploitation of disease-battling kids turned celebrities. The main event here is Boomer versus Millennial, and she’s got an outstanding, kick-ass ensemble for this wild and wacky ride – all nicely balancing the funny with the real.
Nashman hits all the notes as Marty; classic inappropriate Boomer white guy, in the tradition of Letterman, O’Malley is magnanimous an even a bit verklempt on camera as he bids farewell to a job he loves. Nashman provides some nice layers of hurt and bitter, as O’Malley’s external calm collapses into rage. As Millennial comic Sarah, Letwin is a natural-born smart-ass; she does a really nice job mining the conflicting emotions of this moment for Sarah, who’s thrilled to be taking over the show and scared to death at the same time. She’s made a name for herself as an unashamed and out there comedienne, and masks her discomfort with an irreverent bravado. Vacratsis is a scary delight as Alanna; a hilarious combination of cheerleader and dragon lady, she’s been with the show for years and will do whatever it takes to keep it alive. Musi is adorkably funny as the socially awkward intern Davey; forced out of his comfort zone on a number of occasions, his reward is the care and feeding of Vivienne, who he goes fan boy gaga over.
Downer is entertaining and compelling as actor Kevin Lee Hicks; a gay black man who’s come to fame by playing cool grandma Mama Jones (who we also get to meet) on the big screen, Hicks is unapologetic, sharp-witted, resourceful and opportunistic. Jones is both a laugh riot and deeply poignant as Vivienne Lawrence; an actress in her mid-forties now relegated to mom roles, she’s struggling with her career and her marriage, and gutted that her kids get drawn into the gossip about her and Marty.
ZoomerHall is the perfect venue for this production. The studio audience sound stage set takes Late Night beyond site-specific and into immersive theatre, complete with cameras and live video monitors.
Funny as hell and shit gets real in the socially sharp, outrageously funny Late Night. My ass was laughed off. Get yourself on over to ZoomerHall to see this
Filament Incubator presents Raw Matter’s production of Hot Kitchen/SECOND SHIFT, written, directed, designed and performed by the Raw Matter ensemble, incorporating the writing of Sylvia Plath, Silvia Federici and Jean Genet. Opening tonight, I caught the preview at Kensington Hall (56A Kensington Ave., Toronto) last night.
When you arrive in the space, you’re immediately aware of all the pink. Up stage right is an enormous pile of laundry; stage left has a lush garden; and up centre is the kitchen, featuring a gas stove and counter. All very pink. Like old-school Barbie threw up all over that shit pink. Five women are already onstage, engaged in various household activities: laundry, baking, scrubbing the floor, beautification and gardening. The sound of a ticking clock. Loud. Merciless. Oh yeah, and there’s a baby doll on your chair; you’ll need that for one of the game shows later on.
Three of the women act as a chorus of house fairy-like beings; dressed in pale pink diaphanous dresses, their faces made up with shiny, metallic colours: Maybelline (Veronika Brylinska), Lysol (Alanna Dunlop) and Betty Crocker (Nicole De Angelis). They are the cheerleaders for traditional, old-school housewifery – the driving force in the nucleus of life, the home. In contrast, we see the growing frustration and irritation of M/Em (Daniela Pagliarello), who speaks with vivid, fierce poetry as she paces the garden like a caged animal. All the while, Powered by (Rebecca Hooton) works away at the laundry, seemingly oblivious to anything else.
This multi-media production draws on political, philosophical, technological and economic frames of reference in its presentation of various points of view on housekeeping, housewifery and womanhood. Throughout the hysterical absurdity of it all are some particularly entertaining and thought-provoking scenes: capitalism vs. communism in the Nixon/Khrushchev kitchen debates, featuring footage from that meetup; game shows, including one with group audience participation and another that sends up Let’s Make A Deal; and a beauty pageant – peppered throughout with variety show-style dance breaks. And things get really interesting when M/Em breaks free from her garden environment and bursts into the world of the house fairies, interrupting their delicate, light, “feminine” reverie. And far from being a passive entity on the sidelines, we see just how much this world relies on the efforts of Powered by.
Shouts to the Raw Matter ensemble for their incredible work on the writing, design and execution of this provocative and thoughtful piece. Brylinska brings a ferocious commitment to the otherwise superficial Maybelline; Dunlop’s Lysol is delightfully sassy; and De Angelis’s Betty Crocker is deliciously vacuous. As M/Em, Pagliarello is a housewife on the verge of a nervous breakdown, the lone voice of dissention that dares to challenge the Christian/capitalist status quo of housewifery. Hooton’s Powered by is silent, uncomplaining and diligent; and, ultimately, she shows us just how committed she is to – and how reliant the rest of the world is on – her work.
June Cleaver goes to hell in Raw Matter’s hilariously dark, satirical & surreal Hot Kitchen/SECOND SHIFT.
Hot Kitchen/SECOND SHIFT continues at Kensington Hall until October 1; it’s an intimate space, so you may want to book in advance. And don’t forget to throw the baby!
When I go to the Factory Theatre courtyard box office to pick up a program for the SummerWorks production of Tough Guy Mountain: a play, I’m directed to a stack of pink and white tri-fold brochures. Designed as an Intern Initiation Manual, the document includes illustrations of all of Tough Guy Mountain’s (aka TGM) key corporate players – executives, assistants and interns – along with brief descriptions. It’s a workplace field guide.
Written and directed by Iain Soder, with music by Rory Maclellan, Tough Guy Mountain: a play is set in the headquarters of “an extra-dimensional corporation that creates and manages premium quality brands.” The futuristic pre-show music serves as a soundtrack, accompanying pre-recorded informational sound bites about the company and being a good intern. The show also incorporates projection with computer animation and live action (especially effective, and hysterically funny, with Holographic Kyle, played by Cale Weir), music numbers and even a dance break or two.
It’s Lisa’s (Jessica Brown) first day as an unpaid intern at TGM and, like Alice through the looking glass, she enters a strange new world of interesting and eccentric corporate entities. And manages to discover a conspiracy against art, finding herself forced to take action to save what’s important to her.
Really nice work from the cast in this fast-paced, crazy look at corporate branding and conspiracy. Brown shines as the wide-eyed, eager and ambitious Lisa, a plucky young intern who is clearly nobody’s fool. Other stand-outs include Elizabeth Johnston as the hilarious sharp-tongued dragon lady Queenie Empress; Jonathan Carroll as the neurotic and impulsive exec Joan Popular; and writer/director Soder’s slick, arrogant Ivan Phone. And big LOLs from William James Kasurak as the driven, robot-like Intern Phil; Sam Roberts as the obsessively committed Intern Stan; and Cat Bluemke as Beige Cathy, the perfectly efficient, deadpan executive assistant with a glare so withering, she doesn’t need to say a word. Shouts to Inez Genereux (TGM’s fashionable, artsy client) and Atleigh Homma (the precocious and sassy Holographic Lisa).
And shouts to graphic designer Bluemke for the most innovative program design I’ve seen.
It’s big satirical fun with corporate branding and conspiracy in Tough Guy Mountain: a play.
B is for “balloon,” “birthday,” “basketball,” “band-aid.” And also “bitch.” It’s also the third letter in “Rebecca,” the shared name of the two characters in playwright/performer Sara Farb’s one-woman play R-E-B-E-C-C-A, directed by Richard Greenblatt, which opened at the Theatre Passe Muraille backspace last night.
The two Rebeccas are based on Farb’s younger sister Rebecca: one real (May, born prematurely and diagnosed as developmentally delayed when she was a small child) and one made up (July, based on Farb’s imaginings about what Rebecca would have been like if she weren’t developmentally delayed). Their lives and stories running parallel, both are celebrating their 18th birthdays – and both end up at the same summer camp (May as a camper and July as a counsellor), where these two Rebeccas connect in a fantastic and surprising way.
May Rebecca is a physically full-grown young woman, her mind frozen in time as a pre-schooler of three or four years old. The play opens with her birthday party, projected silently onscreen upstage, as she blows out her birthday candles and receives a piece of cake with a blue flower on it. The celebration is interrupted as she becomes clearly angry and stomps off camera. She enters and takes up a spot on the stairs – she’s in a time out. She wanted a second piece of cake with the pink flower and became enraged when she was denied. This is where we start to see the world through her eyes and hear her story, told in her own words.
Opposite the stairs in May Rebecca’s world is a step-like rock formation by the water at a summer camp, where July Rebecca broods about her approaching 18th birthday, recording her thoughts and feelings on a video camera. A darkly moody and sardonically funny young woman, this Rebecca takes morbid delight in her own sense of apocalypse. She is convinced that the moment she turns 18 – at exactly 4:14 p.m. – will be her last. Her impending sense of personal doom is clarified by the emerging revelation of her severe depression diagnosis.
Farb does an excellent job winding the story in and out and around the two women, the characters sharply defined and transitions smoothly executed (with movement consultation from Viv Moore). May Rebecca is playful and endearing, bright and present; a lover of Disney princesses, Sesame Street, elephants and basketball – and camp counsellor Dave. Her responses to the world are immediate, deep, largely positive and always dead honest. And her smile glows big and bright. As July Rebecca, Farb is darkly funny and Holden Caulfield-like, her biting sense of humour conjuring up mocking nicknames for the phonies who inhabit her world – except for the developmentally delayed kids, where the monikers become playfully descriptive. Drawing much of her imagery from World of Warcraft characters and themes, she compares them to Troggs – but not in a cruel way, even though she refers to them as “tards.” Like the Troggs, she sees the developmentally delayed kids as doing what they want, when they want – with no apologies and no regrets. She sees beauty in their genuine responses and individuality – and wishes she could be more like them.
As Farb notes, and July Rebecca realizes, “All it takes is something on a microscopic level to define a person’s entire existence.” And when the two Rebeccas see each other, wordlessly connecting across the space between them, there is bright light and love and beauty.
R-E-B-E-C-C-A is a magical, funny and moving piece of storytelling, allowing the audience to see and experience the world from a perspective that is rarely presented onstage – or anywhere. Get yourself out to the TPM backstage space to see this remarkable play.
Blindsided is a multi-media journey of perception and memory, triggered by a cycling accident – and we see Hayley’s life flash before her eyes. Hayley Hughes teaches a film restoration class – more specifically, the work of her famous grandmother Nan Hughes – and the piece begins with Reeves entering, as Hayley, into the world of the classroom. We are her students and she is the exacting, yet wryly funny, prof.
In a powerful, and also archly funny, performance, Reeves takes on several characters in addition to Hayley: Nan; Hayley’s brother Declan; and a glamourous German film actress, notorious for acting in Nazi films as a child (a subject in some found footage that came into Nan’s possession, and fascinated Hayley and Declan). As Reeves morphs in and out of these characters, and opens up the folding flats to reveal yet another layer of the playing area, snatches of moments from Hayley’s cycling accident appear, then moments from childhood when she and Declan stayed with Nan – and a horrible childhood accident of a friend.
Film restoration becomes a metaphor for restoring a life. In the classroom scene, Hayley tells us that the first step to restoring a piece of film is to assess the damage. We also learn that Nan’s greatest career achievement came through an accident. Accidents have the resulting impact of permanently changing the subject – but not necessarily in a bad way. And like old film stock, we are delicate things, but when handled with great care we can be mended. But, after an accident, things are never the same.
Blindsided is a captivating living collage of moving pictures, memory, mixing art and science, and putting what’s broken back together.
Blindsided continues its run for three more performances at the Scotiabank Studio Theatre at the Pia Bouman until Sun, Aug 17 – see here for exact times/dates.