Freedom of expression & political oppression in a digital age in the chilling, intersectional, provocative Theory

Sascha Cole. Set & lighting design by Joe Pagnan. Projection design by Cameron Davis. Costume design by Michelle Bohn. Photo by Cylla von Teidemann.

 

Under what circumstances should freedom of expression be censored or policed? At what point does politics, however liberal or progressive, become unforgiving and oppressive? Tarragon Theatre’s production of Norman Yeung’s Theory, directed by Esther Jun, assisted by Stephanie Williams, examines the impact of film and social media on modern-day discourse through an intersectional lens, where academia meets art—with chilling and provocative results.

I saw the genesis of Theory, first as a reading at Alumnae Theatre’s New Ideas Festival and then as a full production at SummerWorks, back in 2010. It appeared again at Alumnae during FireWorks Festival 2013—at which point, at the suggestion of dramaturge Shirley Barrie, lead character Isabelle’s boyfriend was re-written as a female character. I missed the 2013 production, but was happy to see the evolution of the piece in the current Tarragon presentation, where Isabelle has a wife who is also a person of colour.

Rookie film studies prof Isabelle (Sascha Cole, in the role from the very beginning) has set up an online message board off the campus server—a bit of a rogue move that becomes even more so with an ‘anything goes’ policy. Her film theory students will self-moderate and there are no plans for censorship. And, in a classic Dead Poets Society moment, she has her students tear out the film screening list from the syllabus—full of white male directors—and replaces it with a more diverse, contemporary list. Even her core group of vocal, engaged students—Davinder (Bilal Baig), Safina (Asha James), Richard (Kyle Orzech) and Jorge (Anthony Perpuse)—have questions and misgivings about the nature of the message board and revised film list, which includes the controversial Baise Moi, translated into Rape Me in an English release.

Isabelle’s wife Lee (Audrey Dwyer)—a Black, tenured prof at the same university—also has reservations about the student message board; and like her, one can’t help but wonder if Isabelle is trying too hard to look cool and connect with her students as adults and academics. Racist and homophobic remarks begin to emerge on the message board—presented onstage via projection (design by Cameron Davis)—some of which are directed at other students.  And, while Isabelle insists that nothing offends her and refuses to censor the board—viewing the remarks in the context of fodder for adult, academic conversation and exploration—some of her students don’t see it that way.

Video messages start appearing, at first referencing films the class is studying, then getting increasingly graphic and violent, and directed toward Isabelle. Becoming obsessed with finding out who the perpetrator is, the strain on Isabelle and her relationship with Lee starts to show; she keeps putting off their plans to have a baby and starts spending an inordinate amount of time on the message board.

As the messages get more personal and close to home, showing up in her personal email, text messages and even on her doorstep, Isabelle blocks a user called @Richard69 and turns to department head Owen (Fabrizio Filippo) to see if she can launch a complaint or investigation to learn the identity of the student. It’s during this meeting that she learns there’s been a complaint launched against her. Isabelle begins to suspect the culprit is among her core group of students, but has no solid proof.

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Sascha Cole & Audrey Dwyer. Set & lighting design by Joe Pagnan. Projection design by Cameron Davis. Costume design by Michelle Bohn. Photo by Cylla von Teidemann.

Outstanding work from the cast in this chilling multi-media psychological thriller. There’s a taut scholarly edge in Cole’s performance of Isabelle; and an awkwardness in Isabelle’s attempts to connect with her students on a laid back, personal level. Under pressure to make tenure, Isabelle must walk the line between provoking thought and keeping her students and  superiors happy. Dwyer’s good-humoured academic veteran Lee goes beyond being a great foil and complement to Cole’s Isabelle—she’s the sociopolitical conscience in the relationship and in the piece. A supportive and nurturing partner, Lee has no trouble calling Isabelle out when she’s neglecting their relationship or forgetting to check her privilege. Filippo gives a great turn as the cool guy department head Owen; like Isabelle, he’s invested in keeping everyone happy—but his flip, hip dude exterior belies the institutional administrator who must also answer to higher powers in the university.

Really nice, sharply drawn work from the student chorus. Baig’s sassy, queer South Asian Davinder and James’ earnest, politically aware Safina (Asha James), who is Black, are particularly aware of and sensitive to the homophobic and racist remarks posted online; and Safina is uncomfortable with some of the course content. Both are open and willing to expand their minds and engage in debate; but they understandably draw the line at hate messaging. Perpuse brings a fun class clown energy to Jorge, who posits that porn should be given equal consideration with other genres. And Orzech’s nerdy, curious Richard seems affable enough, but there’s a dark undercurrent to this curious, white kid as he pleads “context” to his observations on films featuring storytelling filtered through a racist lens.

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Bilal Baig, Anthony Perpuse, Asha James, Kyle Orzech & Sascha Cole. Set & lighting design by Joe Pagnan. Projection design by Cameron Davis. Costume design by Michelle Bohn. Photo by Cylla von Teidemann.

Isabelle realizes that she’s underestimated the power of a digital media and the accompanying anonymity of user names, which make for an easy, consequence-free platform for hate speech and intolerance; and she’s forced to examine her inconsistent handling of conversation that veers toward hate speech. Her progressive feminist liberal politics and attempts at provoking thought have pushed buttons and opened a Pandora’s box of alt-right ill will. Is she complicit in fostering oppression by holding back on deleting racist and homophobic comments? Timely in its recognition of alt-right backlash, Theory reminds us of the inevitable pendulum backswing on progressive sociopolitical change.

Theory continues in the Tarragon Extraspace until November 25. Get advance tickets online or by calling the box office at 416-531-1827.

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Lost music dreams & turbulent family reunion in Rare Day Projects’ bittersweet, poignant, funny A Very Different Place

Clockwise, from top left: Jeanette Dagger, Rosemary Doyle & Alexzander McLarry. Photo by Deborah Ann Frankel.

 

You can’t go home again, but maybe you can meet where you are. Rare Day Projects presents Carol Libman’s drama about lost dreams and family reunion, A Very Different Place, directed by Robin Haggerty and opening last night at Red Sandcastle Theatre. This world premiere began as a short play in Alumnae Theatre’s New Ideas Festival, later emerging at Big Ideas and Next Stage readings before reaching its current form at Red Sandcastle.

Teri (Rosemary Doyle) left home almost 20 years ago to pursue a career as a jazz singer with a talented man she loved—and that’s not all she left behind. Her mother Marge (Jeanette Dagger) was left to raise her son Mike (Alexzander McLarry). After a chance meeting in a Calgary hospital, where Teri now works as a nurse, Mike hatches a plan for a family reunion between his mother and grandmother at their home in Toronto—a plan that gets fast-tracked when Marge falls and breaks her hip. He needs to get back to work on an oil rig out west in a few days, and Marge—despite protestations to the contrary—needs assistance at home while she recovers and gets physiotherapy. Enter Teri, and the mother/daughter battle begins!

Old wounds, misunderstandings, resentments and suspicions emerge as Teri and Marge struggle through past and current conflicts—and try to make peace for Mike’s sake. Mike finds himself in the middle of the fray, playing peacemaker when all he wanted was to get his family back together. And Teri’s desperately trying to stay sober through the stress of this homecoming; attending AA meetings, where she addresses us as fellow Friends of Bill.

Nicely staged, with a turbulent musical prologue and snippets of classical piano favourites featured throughout (expertly played by Dagger) and a touching mother/daughter duet on “Summertime” (with Doyle shining on the vocals), A Very Different Place is bookended with music and moments of Teri’s AA sharing.

Lovely work from the cast in this touching, often sharply funny, three-hander—featuring some especially moving two-hander scenes between mother and daughter, and mother and son. Dagger’s Marge is a tough but amiable old gal with a decided stubborn, independent streak and an unbreakable determination to do what’s best, even if it costs her. Doyle’s Teri is a troubled adult child struggling to reconcile past and future choices, wobbling on the edge of petulant teen in the face of family conflict. Equally firm in her pursuit of independence—she comes by it honestly—like Marge, who once dreamed of being a concert pianist, Teri feels the sting of lost music career dreams and the necessity of setting herself on a new path in order to survive. McLarry does a great job as the glue trying to hold this family together as Mike navigates his own internal conflicts; like Marge and Teri, his life took an unexpected turn when he was forced to go west to find work. Setting up this family reunion as much for himself as for his grandmother and mother, Mike finds himself playing adult/referee when, deep down, he wants to feel a kid’s experience of love and family.

With shouts to SM/Technical Director Deborah Ann Frankel for juggling multiple tasks in the booth.

A Very Different Place continues at Red Sandcastle until May 13, with evening performances at 8 pm May 8 to 12; and matinees at 2 pm on May 10, 12 and 13. Tickets available at the door, by calling the Box Office at 416-845-9411 or going online.

 

New Ideas: The chaotic metaphysics of life, love & monsters in the water in the funny, moving, poetic Week 3 program

Alumnae Theatre Company continues its 30th annual New Ideas Festival (NIF) of short new works, opening the Week Three program last night. It’s the final week of the festival, running up in the Alumnae Studio.

The Devil and the Deep Blue Sea by Natalie Frijia, directed by Kay Brattan. In 1882 Toronto, 39 people have mysteriously drowned in Lake Ontario—and rumour has it there’s a monster beneath the slate blue water. Rookie reporter Marjorie May (Emma Tse) is determined to get the story, visiting Mary-Anne’s (Stella Kulagowski) pub down by the docks to gather some information. Things get real when they’re joined by the terrified Captain O’Connell (Shawn Lall), who’s barely escaped with his life. As the incoming storm batters the pub, there’s something else out there in the night. Is the creature coming after the Captain to finish what it started?

Nice work from the cast building the intrigue and tension in this 15-minute piece of exaggerated Toronto history. Tse brings a youthful sense of feisty defiance to the young reporter, while Kulagowski is fiery and cynical as the voluptuous barkeep; and Lall’s Captain runs the gamut from frozen terror to gritty resolve as the three stand together in the end.

Marty and Joel and the Edge of Chaos by Camille Intson, directed by Lorna Craig. Chaos theory meets romantic dramedy in this delightful and poignant two-hander played out by four actors. You’ll see what I mean. A couple—Marty (Allison Shea Reed/Kim Croscup), a physicist, and Joel (Simon Bennett/Ryan Bannon), a photographer—occupies the same space in two different times: the day they met and the day of Joel’s second marriage some 20 years later. Constructing and deconstructing the relationship, we see them go from first love to finally working toward some closure.

Beautifully acted and staged. Shea Reed and Bennett are adorably awkward as two 20-somethings getting to know, and falling for, each other. Marty and Joel seem to be perfect complements to each other, with Marty’s adventurous nature and nerdy science knowledge, and Joel’s creative, intuitive sensitivity. As older, more world-weary and disillusioned versions of their former selves, Croscup’s Marty is frustrated and angry, still looking for the answers; and Bannon’s Joel has moved on, but still cares deeply for Marty and treasures their relationship.

The Officiant by Francesca Brugnano, directed by Paige Foskett. It’s 1938, and Shirley (Brianna Riché) and William (Jordan Kenny) have stolen off into the woods, where Shirley has decorated a clearing for them to be secretly married. But when the Officiant (Lisa Kovack) arrives, the wedding service gives them a glimpse into their future together, making them think twice. Is it worth all the pain and suffering?

A lovely, poetic dance of text and movement to tell this story, with moving work from the cast. Riché is brave, romantic and practical as Shirley; and Kenny brings an earnest boyish charm to William. Kovack gives the Officiant a witch-like air of mystery and foresight; cruel to be kind, she means to get real with this couple.

Mourning after the Night Before by Chloë Whitehorn, directed by Heather Keith. When Lucy (Mary Wall) and Drew (Dave Martin) decided to move to a small town, they did it to make to make a quieter, more peaceful home for their family. Making friends with brother and sister Everett (Conor Ling) and Fenwick (Tiffany Deobald), locals who help them get settled, Lucy struggles with her relationship with her daughter Pippa (Grace Callahan), as well as emerging feelings for Everett. Everett is falling in love—but is it with Lucy or Pippa? Drew and Fenwick are trying to keep their respective families safe. Did Lucy miss something in Pippa’s dark, teen angst-filled poems?

Lovely work from the cast in this haunting, lyrical family drama. Wall is wounded and desperate as Lucy; heartbreaking in a life adrift and grasping for a sense of self. Martin’s Drew is heart-wrenching to watch; sensitive and supportive, Drew doesn’t know what to do—and finds himself drifting farther from his family. Callahan gives Pippa an ethereal, creative spirit; a somewhat wild and rebellious teen, she finds solace in writing. Ling brings a sweet, shy romantic edge to Everett; while seeing anew with these new relationships, Everett’s eyes may not be wide open. Deobald is an irreverent charmer as Fenwick; tasked with raising Everett after they were orphaned, Fen is just trying to keep it together, but shows genuine concern for the rift between her new friends Lucy and Drew.

The NIF Week Three program continues in the Alumnae Theatre Studio until March 25. Get advance tickets online or by calling the box office: 416-364-4170, ext. 1 (cash only at the box office). Performances run Wednesday – Saturday at 8 pm, with matinees on Saturday and Sunday at 2:30 pm.

Coming up: Week Three staged reading on Saturday, March 24 at noon. Animal by Romeo Ciolfi, directed by Liz Best; featuring actors Alexandra Milne, Anton Wasowicz, Steven Vlahos and Michele Dodick.

It’s a very popular festival and an intimate venue, so advance booking is strongly recommended. In the meantime, check out the Week Three trailer by Nicholas Porteous:

 

 

New Ideas: Alternate perceptions, unexplained events & magical connections in the haunting, hilarious, heartfelt Week 2 program

Alumnae Theatre Company opened its 30th annual New Ideas Festival (NIF) of short new works last week; the three-week festival presents a different program of plays each week, plus staged readings on Saturdays at noon. I caught the Week Two program up in the Studio last night.

Sweet Mama and the Salty Muffins by Ciarán Myers, directed by Kendra Jones. Haunted by a catchy Appalachian folk song that sends her back to the moment her three-year-old daughter disappeared at an outdoor concert, a mother (Lisa Lenihan) tries to make us see the sense of her account of the inexplicable aftermath of the event. Do we believe her? Is it all in her mind?

Lenihan is quirky and heartbreakingly lonely as the mother in this 15-minute solo piece. Desperate for someone to believe her and neurotically self-conscious of sounding mentally ill, the mother is confident in what she saw. And she realizes it sounds beyond strange and impossible, but she believes it with all her heart. Maybe because she has to.

If Socrates were in My Shoes by Donna Langevin, directed by Carl Jackson. Set in 1930, Jean (Nicholas Koy Santillo), who’s gained fame as a daredevil, meets down on his luck writer George (Andreas Batakis), who’s working as a cook to pay the bills. George is despondent over not being able to find a publisher for his book and Jean suggests a death-defying stunt to get publicity: going over Horseshoe Falls in a barrel. How far is George willing to go to self-publish his book?

Nice work from the actors in this metaphysical dramedy. Santillo brings an affable charm and cockiness, with a touch of con artist, to Jean; a man with a wife and six kids to feed at home, Jean does what he needs to do to make ends meet. Batakis gives George an interesting combination of melancholy and driven, earnest and fanciful, pensive and desperate. There’s an air of dark, edgy mystery around George. What is the true nature of his intense relationship with the teachings of Socrates?

Stars by D.J. Sylvis, directed by Gillian Armstrong. Two lives revolve around each other thousands of miles apart in this lovely, cosmically magical two-hander. Akia (Alexa Higgins) and Ren (Katherine Cappellacci) have never met, but they’re falling in love in a long-distance relationship as they gaze at the stars during a cellphone conversation.

Playing out this beautifully tender, funny and heartbreaking romance—all in 15 minutes—Higgins and Cappellacci have great chemistry, complementing each other perfectly with this pair of opposites. Higgins is a starry-eyed romantic as the astronomy nerd Akia; and Cappellacci is earthy and cynical as the sci-fi dork Ren.

Moving On by Elmar Maripuu, directed by Helly Chester. Kyle (Michael Ricci) has a brilliant software idea and Shelley (Lena Maripuu) is helping him find an investor. Trouble is the investor she’s putting forward is under suspicion of absconding with Kyle’s small home town pension fund. This problem of conscience is comically compounded by the appearance of Jodie (Rachelle Mazzilli), Kyle’s high school sweetheart.

Equal parts hilarious and heart-wrenching, this three-hander cast does a great job. Ricci’s Kyle is a visionary, and also loyal, good-humoured and sweet. He longs to bring his plans to fruition, but is torn about aligning himself with the man who may have swindled his friends and family back home. Maripuu is a big bundle of madcap fun as Shelley; possessing boundless energy and talking a mile a minute, there’s more than meets the eye as we get a glimpse into Shelley’s past and secret desires. Mazzilli is adorably irreverent and cocky as Jodie; playfully seductive, Jodie isn’t quite sure what’s up with this visit with Kyle. Are old fires lighting up again or are they just riding a wave of memory?

The Week Two program also includes a staged reading on Saturday, March 17 at noon, followed by a talkback. Mirage: The Arabian Adventures of Gertrude Bell by Laurie Fyffe; featuring actors Fallon Bowman, Rosey Tyler, Saphire Demitro, May Tartoussy, Arun Varma, Ethan Saulnier, Sean Dwyer, Matthew Olivier and Erin Humphry.

The NIF Week Two program continues in the Alumnae Theatre Studio until March 18. Get advance tickets online or by calling the box office: 416-364-4170, ext. 1 (cash only at the box office). Performances run Wednesday – Saturday at 8 pm, with matinees on Saturday (with a post-show talkback) and Sunday at 2:30 pm. Check out the Week Three program, running March 21 – 25.

It’s a very popular festival and an intimate venue, so advance booking is strongly recommended. In the meantime, check out the Week Two trailer by Nicholas Porteous:

 

The meaning of life, death & the role of a lifetime in the moving, tender & funny Or Not To Be

Andrew Robinson, Shawn DeSouza-Coelho & Karen Scobie in Or Not To Be—photo by Vic Finucci

 

I was back at Red Sandcastle Theatre last night, this time for Glass Hammer Productions’ presentation of Andrew Batten’s Or Not To Be, directed by Julia Haist. I saw the premiere at Alumnae Theatre’s New Ideas Festival last year and was excited to see the evolution of the piece.

Actor Ben (Shawn DeSouza-Coelho) and director Sebastian (Andrew Robinson), also best friends, are working on putting together a production of Hamlet, with Ben playing the tragic hero. It’s the production of a lifetime—and the role of a lifetime for Ben—in more ways than one. Ben is living with a rare cancer, and his life now revolves around post-op treatments, medical appointments and an uncertain future. Rounding out his support team are his family and partner Sarah (Karen Scobie)—all touched in his or her own way by Ben’s illness.

Beneath the brave face Ben puts on for the world is a deep-seated internal conflict about the project and his treatment. As he struggles with side effects, low energy, frustration, and the fear of forgetting his lines and sucking at the role, he begins to wonder who he’s doing all of this for—and he’s faced with some hard choices, the impact of which will ripple out to those he loves.

Really lovely work and great chemistry from this three-hander cast in this intimate and candid production. DeSouza-Coelho’s Ben is a compelling picture of stoicism and determination, his thousand-mile stare and stillness belying the troubled soul beneath the surface; and he gives us nicely drawn Hamlet in a selection of classic soliloquies. Robinson brings the perfect balance of cockiness and warmth to Sebastian; Ben’s best friend since grade school, his theatrical ambitions are put into perspective by his support and care of Ben. Scobie gives Sarah a poignant sense of vulnerability and conflict as Ben’s lovingly supportive and uncomplaining partner; torn between wanting what’s best for Ben and not wanting to let him go, Sarah must confront her own feelings and motives. These relationship dynamics have all the truth, humour and feeling of people who know each other well—and in Ben and Sebastian’s case, a long time. And while the truth may be hard to take, it’s served up with love and honesty.

In the end, it makes you think. How would you react in Ben’s situation? What would your life be? And, as your life is right now, what’s your Hamlet? We are reminded that time is a precious, non-renewable resource—and despite the best intentions of those we love, it is we who must ultimately decide what path our lives will take.

With shouts to Liz Currie, the intrepid stage manager, lighting designer and tech in the booth; and to Wellspring, an organization—noted in the program—that provides programs and services for people living with cancer and their caregivers.

The meaning of life, death and the role of a lifetime in the moving, tender and funny Or Not To Be.

Or Not To Be continues at Red Sandcastle until January 28, Thursday through Saturday at 8 pm, with 2 pm matinees on Jan 20, 21, 27 and 28. Tickets available by calling the box office at 416 845-9411, or online at this link for first seven shows and this link for the final seven shows.

New Ideas Festival: Heart beats, blue feels & the big sleep in trippy, darkly funny Week Three program

Alumnae Theatre Company continues its 2017 edition of the New Ideas Festival (NIF) with a trippy, darkly funny Week Three program, the final week of the fest. The annual festival includes three weeks of short new plays and full-length readings, including four plays and one reading each week, running in the Studio space.

Beat by Dale Sheldrake, directed by Josh Downing. Alone and injured following a near fatal car crash, Evelyn 1 (Jackie Mahoney) is beside herself, as she listens to her heart/inner voice (Evelyn 2: Laurel Schell). Taking stock of her life as she waits for help to arrive, she’s forced to face her inner demons and addictions. Darkly funny, sharp and theatrical; with some lovely spoken word dialogue and strong performances from Mahoney and Schell.

The Ballad of Sadie Wong by Andrew Lee, directed by Cassidy Sadler. Film noir detective story meets modern-day romance when day-dreamy, chipper bookstore clerk Althea (Remi Long) meets volatile, melancholy barista/punk rocker Sadie (Liz Der). Their sharp-witted, fun dynamic goes dark when Althea becomes concerned about how far Sadie will go to reach the top of the marquee. With the help of fictional Detective Ellesmere (Peter McArthur), Althea tries to solve Sadie’s mystery—but is Sadie beyond hope? Nice work from the cast; Long and Der have great chemistry, especially with the punchy dime store detective novel banter.

Who Knocks? by Connie Guccione, directed by David Suszek.  An obituary for a high school classmate gets Rose (Sandra Burley) and Mary (Ruth Miller) thinking about death in this darkly funny look at aging and mortality. Great odd couple chemistry between Miller’s cynical, wise-cracking Mary and Burley’s gentler, good-humoured Rose.

The Hungriest Woman in the World by Shannon Bramer, directed by Claren Grosz. Struggling with ennui and identity, and longing for a way out—it’s through the looking glass for Aimee (Jeanine Thrasher). When her workaholic husband Rob (Armand Antony) refuses to join her for a night at the theatre, she goes off on her own. At the show, she befriends her seatmates, highly extroverted actors Nathan (Jamie Rose) and Julie (Jacqueline Verellen), and stays out all night. Bizarre shenanigans and darkly hilarious times ensue. Shout to the cast; great use of movement and farce-like comedy.

The Week Three program also includes a reading on Mar 25 at noon: Thistlepatch by Catherine Frid, directed by Kelsey Laine Jacobson.

Heart beats, blue feels and the big sleep in trippy, darkly funny Week Three program.

The NIF Week Three program continues until Mar 26 and closes the festival for this year; evening performances at 8p.m. and matinées at 2:30p.m., including talkbacks after the readings and the Saturday matinées. It’s an intimate space and a popular fest, so advance booking online or early arrival (box office opens one hour before show time—cash only) are strongly recommended.

 

 

New Ideas Festival: Attraction, secrets & brave new worlds in eclectic, insightful Week Two program

Alumnae Theatre Company continues its 2017 edition of the New Ideas Festival (NIF) with an eclectic Week Two program. The annual festival includes three weeks of short new plays and full-length readings, including four plays and one reading each week, running in the Studio space.

The Red Lacquered Box by Burke Campbell, directed by Lynn Weintraub. In this one-woman period drama, secretary Madame Gilles (Aleksandra Maslennikova) relates what she knows about the events leading up to the scandalous tragedy involving her employer Madame Tullée. Maslennikova’s Mme Gilles is a fastidious, bright-eyed charmer; a fine performance as she shifts between characters, including the dramatic, effervescent Mme Tullée and her suave, sophisticated lover Derek. What is the significance of that red lacquered box?

Parallax by Michelle Glennie, directed by Ara Glenn-Johanson. Brave new worlds collide in this hilarious, sharp tale of two pairs of friends/colleagues boldly going. Physicist/surgeon Marie Soleil (Melanie Leon) and Expos baseball star Rock (Duncan Rowe) have been selected to train as astronauts for a one-way trip to Mars; part of their mission will be to help populate the new Earth colony. Meanwhile, back in the 1660s, Louise (Wendy Fox) and Laura (Taylor Shouldice) are Filles du Roi, setting off aboard a ship to New France, to help populate the new French colony. What happens when these two pairs meet during an event in the space/time continuum has surprising results.

Y by Rosemary Doyle, directed by Sandra Cardinal. When Lyona (Sandi Globerman) invites Fyona (Alison Parovel), the daughter of close family friends who moved to England, for a visit, her sons George (Aury Barnett) and Henry (Taylor Bogaert) wonder what’s up. Family secrets emerge in a series of flashbacks, including Lyona’s husband Arthur (Barnett), and family friends Thomas (Bogaert) and Helen (Parovel). Actions reveal priorities in this intimate, at times funny, portrait of family and friendship dynamics.

Professionally Ethnic by Bobby Del Rio, directed by Rouvan Silogix. A sharply funny and insightful look at perceptions of diversity and inclusion in Canadian theatre. Young South Asian Canadian actor William (Ronak Singh) finds himself torn between landing a starring role with renowned white artistic director Gerrard (Rob Candy) and his conscience when the job requires that he become a stereotypical multicultural poster boy for the theatre company’s massive rebranding campaign. With a little help from his friends—best friend Kyle (Simon Bennett), who is white, and girlfriend Tracey (Chantel McDonald), a black equity PhD student—he’s reminded of who he really is. LOL problem-solving shenanigans ensue. Really nice work all around from the cast; especially funny is the nightmare presentation scene, where Gerrard and Tracey present their perceptions and findings of William’s situation.

The Week Two program also includes a reading on Mar 18 at noon: Who You Callin Black, Eh? by Rita Shelton Deverell, directed by Donald Molnar.

Attraction, secrets and brave new worlds in the New Ideas eclectic, insightful Week Two program.

The NIF Week Two program continues until Mar 19 and the festival continues to Mar 26; evening performances at 8p.m. and matinées at 2:30p.m., including talkbacks after the readings and the Saturday matinées. It’s an intimate space and a popular fest, so advance booking online or early arrival (box office opens one hour before show time—cash only) are strongly recommended.