FireWorks Festival: Real-life fame, fortune & fall in the entertaining, heart-felt Belle Darling Klondike Queen

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Lindsay Sutherland Boal. Costume design by Adriana DeAngelis. Photo by Nicholas Porteous.

Alumnae Theatre Company (ATC) opens its annual FireWorks Festival of new works with Natalie Frijia’s Belle Darling Klondike Queen, directed by Lori Delorme, with music direction by Anita Beaty—running upstairs in the Studio. Part cabaret, part vaudeville, all heart—this highly entertaining and engaging piece of musical storytelling takes us on vaudeville star Klondike Kate’s (born Kathleen Rockwell) real-life journey of fame, fortune and fall, all set against the backdrop of fading days of the Klondike Gold Rush.

Put on your boots, leave your pick and sing along at the Portland Alaska Yukon Society’s 1931 Sourdough Reunion, featuring headliner—none other than the famous star of vaudeville stage—Klondike Kate (Lindsay Sutherland Boal)! Alumnae Theatre’s Studio Theatre has been transformed into a vaudeville music hall for this real-life tale of the highs and lows of Kate’s storied career in Canada’s North, and dreams of becoming a nation-wide vaudeville impressaria across the U.S.

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Sarah Kaufmann, Madeleine Keesmaat-Walsh, Roxhanne Norman & Lindsay Sutherland Boal. Costume design by Adriana DeAngelis. Photo by Nicholas Porteous.

Accompanied by a fine ensemble of multi-talented, multi-tasking actors (Sarah Kaufmann, Roxhanne Norman and Madeleine Keesmaat-Walsh), with piano player Calvin Laveck tickling the ivories, Kate takes us on a whirlwind musical and storytelling tour of her life—from wayward Victorian Catholic schoolgirl (Kathleen), to vaudeville chorus girl (Kitty), to headliner Belle Darling Klondike Queen (Kate), and a near miss as Pantages theatre partner and impressaria.

Kate has no use for being a “lady” in the traditional Victorian sense of the word, and sets off on an adventure of her own making—breaking gender barriers and the rules as she goes. Taking us back to the “good ‘ol days” with song, story and satire, the God’s honest truth is that these meanderings of nostalgia can’t erase the personal and financial risk, danger and heartbreak of those who tried their luck—and put their strength and resolve to the test—searching for gold in those freezing cold Northern mountains. All for fame and fortune.

Sutherland Boal gives a powerhouse performance as the ambitious, fearless Klondike Kate—a role that amply showcases her considerable vocal chops as she belts out rousing music hall tunes and caresses melancholy ballads. Sassy, classy, gutsy and irreverent, Kate turns away from what’s expected of her as a “good Victorian lady” to carve out her own path and live on her own terms. And beneath the seasoned showmanship and razzmatazz of Kate’s vaudeville persona, Sutherland Boal digs deep to reveal the broken-hearted woman who reached for it all only to find her ultimate dream of business partnership taken away. Disappointed, but not discouraged, she soldiers on—the show must go on, after all.

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Sarah Kaufmann. Costume design by Adriana DeAngelis. Photo by Nicholas Porteous.

She is well-supported by a stand-out ensemble; changing character on a dime in this fast-paced, alternately slapstick and poignant trip through music hall shenanigans both on and off the stage. Kaufmann is adorably Puck-like in her comic turns as the crafty entrepreneur Sophie, and a lusty young sourdough (a Yukon resident) on the make. Norman performs with a playful glint in her eye—and has an outstanding set of pipes herself—in her saucy turn as Kate’s pal and vaudeville partner Gertie; and the charming and irresistible, but false, Alexander Pantages. And Keesmaat-Walsh brings hilarity and swagger as Kate’s gruff boss Arizona Charlie and an awkward strong woman act, among others.

It’s a real-life adventure of fame, fortune and fall—told with song, story and heart. But you don’t have to believe me; check out the trailer (scroll down on the show page).

Belle Darling Klondike Queen continues in the Alumnae Studio Theatre until November 10; get advance tickets online or by calling 416-364-4170 (ext. 1), or pick up in-person at the box office one hour before curtain time (cash only). There will be a post-show talkback with the director, playwright and cast following the Saturday, November 9 matinée performance.

FireWorks continues its three-week run until November 24, presenting a new show each week: Crystal Wood’s Grief Circus, directed by Paige Foskett (Nov 13-17); and Genevieve Adam’s If the Shoe Fits, directed by Heather Keith (Nov 20-24).

 

 

FireWorks Festival: Plotting cold, sweet revenge in the darkly funny, chilling The Pigeon

 

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Graphic design by Suzanne Courtney

Alumnae Theatre opened its annual FireWorks Festival of new works with a tale of unlikely partners and a plot for revenge against a common enemy in Chloë Whitehorn’s darkly funny, chilling The Pigeon—directed by Victoria Shepherd and assistant director Nicole Entin, and running in Alumnae’s Studio theatre.

 

Jegger (John Shubat), a tough-looking young man in black, and Malone (Liz Best), a prim, sharply dressed woman old enough to be his mother, have little in common—other than a common enemy and a decision to join forces to exact revenge, that is. Every day, they meet for lunch on a park bench to hatch their plan.

On the other side of Jegger’s life is his pregnant girlfriend Amy (Marina Gomes); and while Malone schools him on the fine art of vengeance, Amy has taken up educating him about babies. Excited and anxious about the prospect of being a father, Jegger starts to have second thoughts about the revenge plan. Malone has a back-up plan and he will be the messenger—and their relationship will never be the same.

Stellar, compelling performances from the cast in a series of two-hander scenes that play back and forth across the stage, from the park bench to Jegger and Amy’s apartment. Shubat and Best have a tight, razor-sharp rapport as Jegger and Malone; Shubat’s digital-age, sullen, socially aware Jegger and Best’s old-school, acerbic, “culturally insensitive” (i.e., racist) Malone are perfect foils and fine complements. These two characters met only recently and have relatively nothing in common other than a flair for detailed observation and mercurial wit—and an appetite for revenge, coincidentally for the same individual. Gomes’s bubbly, positive and protective Amy is the lighter side of Jegger’s relationships here, providing a sharp contrast to the tone of his relationship with Malone. Amy acts as Jegger’s conscience; and is instrumental in his decision to back out of the revenge plot as she seeks to intervene for the good of their future as a young family.

Over the course of 65 minutes, it’s a slow burn; the bubbles playfully popping to the surface until they reach a boiling point. It’s interesting to see the different aspects of Jegger’s personality that emerge with the two women. A stand-up guy in any case, he takes on a darker, more malevolent vibe with the bitter Malone, who brings out his rage; and a lighter and optimistic jam with the sweet Amy, who provides a safe place for him to unpack his hurt and vulnerability. It clearly troubles him when the dark seeps into the light—and while Jegger is happy to stay on board Malone’s scheme as a messenger, he has no idea what the message will be.

Last night’s post-show talkback featured sound designer/composer John Stuart Campbell, a long-time friend and colleague of Shepherd’s, who spoke about the process of incorporating music into a play. Campbell described music as “a howl at the moon” and an “emotional shorthand,” wherein the sound design/composition is informed by the text, and mindful in its respect for the actors and overall production design. Choosing from a tool box that includes picking an instrument for each character, everyday ambient sound recordings, writing themes for characters or incorporating popular music—with arrangements tailored to the production—Campbell creates a soundtrack that supports and highlights the action. In the case of The Pigeon, he decided to largely forego scene change music, given the flow of the play and split scene staging. He did, however, use an eerie version of On the Street Where You Live (vocals by Vivien Shepherd) to open the play, with Every Breath You Take (The Police) in the pre-show; spooky and sweet, and both underscoring the creepy, stalker vibe of the revenge plot.

The Pigeon continues in the Alumnae Theatre Studio until November 11. Get advance tickets online, by calling the box office: 416-364-4170, ext. 1 or in-person at the door (cash only); box office opens one hour before curtain time. All FireWorks performances run Wednesday – Saturday at 8 pm, with matinees on Saturday and Sunday at 2:00 pm.

Check out the trailer for The Pigeon—by Nicholas Porteous.

The three-week long FireWorks Festival continues to November 25, with two more productions (one each week):  Elmar Maripuu’s Moving On (Nov 14-18) and Romeo Ciolfi’s Animal (Nov 21-25).

Keep up with Alumnae Theatre on Facebook, Twitter and Instagram.

Sharply funny, moving, candid looks at LGBTQ lives in 7th annual Gay Play Day

Gay Play Dayan annual festival of short, new plays written by LGBTQ playwrights and their allies—returns to the Alumnae Theatre Studio for two days only. This is the 7th year of the fest for founding AD Darren Stewart-Jones and the GPD team, which this year includes technical director Johnny Salib and Henry Keeler on front of house. The 2018 edition includes two programs, each featuring four short plays: the Lavender Show and the Pink Show. I caught both at opening night last night; here they are, in order of appearance.

THE PINK SHOW (approx. 75 minutes)

Fade to Black. Written/directed by Darren Stewart-Jones. Old Hollywood meets 21st century fandom when aging former Hollywood icon Bedelia Blake (Nonnie Griffin) finds an unexpected #1 fan when she meets Jamie (Nathaniel Bacon), a young gay man volunteering for Meals on Wheels. Largely secluded from the world for some time, Bedelia finds renewed public interest in her life and career as that first meeting evolves into friendship. Also featuring Philip Cairns as Mr. Johnson. Tender and nostalgic; featuring lovely, layered performances from Griffin and Bacon, as Bedelia and Jamie open up and feel at home enough to be their true selves with each other.

Labels. Written/directed by Erika Reesor. Lesbian couple Danny (Leigh Patterson) and Mia (Emily Schooley) live with Danny’s mom and are preparing for her birthday. Already stressed about the situation, when Mia finds a prescription for testosterone in Danny’s jeans, Danny has some serious explaining to do—sparking a series of confessions and revelations about their relationship and beliefs about gender. A funny, poignant and real two-hander; with grounded, engaging performances.

Diamonds on Plastic. Written/directed by Philip Cairns. Doris (Margaret Lamarre), a straight married spitfire of a southern lady of a certain age confides in us about her love of shopping and all things that sparkle—and goes on to open up about a blossoming affair with a childhood friend, also a straight married woman. Confessions of a shopaholic who adores jewels, shoes and surprisingly more; and a hilarious and entertaining performance from Lamarre, who also gives an LOL turn as Doris’s husband.

Point and Click. Written/directed by Steven Elliott Jackson; stage manager/producer Winston Stilwell. Gossiping away on his cellphone, the arrogant, catty photographer Andre (Adam Bonney) talks trash about friends and colleagues while waiting for a male model to arrive at his studio, virtually ignoring Shannon’s (Jim Armstrong) arrival. A sharply funny look at the perceptions of beauty, with schooling on fat shaming and body image; nicely paired casting, with spot on comic timing from Armstrong.

THE LAVENDER SHOW (approx. 65 minutes)

I’ve Just Seen a Face. Written/directed by Kris Davis. Charlie (Sav Binder) and their friend Mel (Chantel Marostica) attend a queer date/games night, hosted by Sage (Kasden Leo Indigo). While Mel gets to know Sage, Charlie has a near miss with Annie (Rose Tuong), but finds an opportunity for a meet cute at the Knit Café, where Annie works and teaches knitting workshops. Charlie is smitten, but how do they tell Annie that they have facial blindness? A sweet queer rom-com vibe; with hilarious, entertaining performances—particularly Marostica’s cynical, edgy comic Mel, and Binder’s adorkably awkward romantic Charlie.

Missed Connections. Written/performed by Mark Keller; directed by Nick May. Single and alone for the past two years after a break-up, a 30-something gay man surfs the Internet for missed connections, in desperate hopes that someone’s noticed him. Beginning to question his own sanity, he reminisces about his past love as he tries to find the courage to find a new one. Full of LOLs and deeply poignant moments that resonate with any lonely soul who’s had their heart broken.

The End is the Beginning. Written by Tina McCulloch; directed by Josh Downing. The relationship dynamics between Elena (Devon Hubka), Vivian (McCulloch) and LeeAnne (Kelly-Marie Murtha) play out in reverse in this brief, dramatic, time-shifting look at the nature of love and alternatives to traditional monogamy. A candid, deconstructed look at coupling in the face of an ongoing relationship; nicely present, intimate work from the cast.

Coming Clean. Written/performed by Laura Piccinin. Part stand-up, part personal storytelling, Piccinin stands behind a mic and tells us her coming out stories (yes, there’s more than one). Sharply observed, tightly delivered—and finding laughter in the pain—for an entertaining and insightful, out and proud ride.

Missed last night? No worries! Gay Play Day runs for two days, continuing today (Saturday, September 8) up in the Alumnae Theatre Studio: the Lavender Show at 3pm and 7pm; the Pink Show at 5pm and 9pm. Get advance tickets online or at the door (cash only).

And keep up with all things Gay Play Day on Facebook and Twitter.

Ergo Pink Fest: Character is fate & sisters start doing it for themselves in The Women of Casterbridge

Ergo Arts Theatre opened the Ergo Pink Fest at the Small World Music Centre at Artscape Youngplace last night. A three-day festival of new plays by female and non-binary identified playwrights, script criteria includes: “at least two women/non-binary people, who both have names; 2. These two people talk to each other; 3. They talk about something other than a man.” So these are Bechdel-tested works!

The festival opened with Claire Ross Dunn’s The Women of Casterbridge, a feminist retelling of Thomas Hardy’s The Mayor of Casterbridge, directed by Diana Leblanc.

Sold in the market to a kind sailor (David Storch), by her drunken brute of a husband Michael Henchard (Patrick Galligan)—who blames them for his lack of social and financial opportunity and advancement—Susan (Catherine Fitch) and her four-year-old daughter Elizabeth Jane (Laura Schutt) leave England to live with the sailor, Richard Newson, in Newfoundland. Years later, after Newson is declared dead in a ship wreck and they’re evicted from their sailor’s lodgings, Susan (who is now quite ill) and Elizabeth Jane have no choice but to return to England in search of Henchard, in hopes that he will lend them some assistance and secure their survival.

In the intervening years, Henchard has quit drinking and sorted himself out, eventually owning a successful grain business and becoming the Mayor of Casterbridge. A miraculously changed man, when Susan finds him, he asks her forgiveness and plans to make things right. Elizabeth Jane is unaware of the circumstances that sent her and her mother away, so Henchard hatches a plan to woo Susan anew and marry her; in doing so, he must break off his understanding with his lover Lucetta (Kat Gauthier). He also has big plans for innovation with his business, convincing young Scot Donald Farfrae (Sergio Di Zio) to stay in Casterbridge and work with him. Farfrae and Elizabeth Jane, who is an unusually independent and strong-willed young woman for her time, are drawn to each other.

When Susan dies, Henchard decides to renew his relationship with Lucetta, newly returned to Casterbridge a wealthy heiress. She takes Elizabeth Jane, a like-minded independent woman, on as her companion; she also catches the eye of Farfrae, who favours her over Elizabeth Jane. Henchard’s inner demons of greed and pride rear their ugly heads; jealous of Farfrae’s popularity and charm, and of Lucetta’s interest in him, he fires him from the company and returns to the bottle, setting in motion a self-fulfilling prophecy that rolls out over the subsequent years. Turning his anger upon Lucetta, Henchard has letters from her that reveal their prior relationship, spelling her ruin if released. A group of townspeople (Marium Carvell, Stuart Clow and David Storch) catch wind of their earlier affair and make a public spectacle. Meanwhile, Elizabeth Jane, hungry for knowledge and “enlargement” herself, works hard and overcomes the heartache of losing Farfrae to Lucetta, who’d taken her on as a companion.

Excellent work from the entire—and mostly multitasking—cast. Chock full of melodramatic (and comedic) twists and turns, startling revelations and heartfelt confessions, Susan’s motto “character is fate” plays out for all.

Ergo Pink Fest continues in the Small World Music Centre this weekend, closing tomorrow (March 25). Coming up next at the Fest:

March 24 @ 1:30 pm: Being Helen by Laurie Fyffe, directed by Andrea Donaldson

March 24 @ 4:00 pm: The Sister Op by Shelley M. Hobbs, directed by Susan A. Lock

March 24 @ 8:00 pm: Witts: Ballad of the Queer Cowboys by Calla Wright, directed by Anna Pappas

March 25 @ 1:30 pm: The Next Mary by Mairy Beam, directed by Rebecca Picherack

March 25 @ 4:00 pm: Sol by Araceli Ferrara, directed by Anita La Selva

March 25 @ 6:45 pm: Manners by Nastasia Pappas-Kemps, directed by Sue Miner

The Fest also includes two free panels:

March 25, from 12:00 – 1:00 pm: Bridging the Gap: The Value of Mentorship and Relationships between Artists (Room 106). Mediator: Thalia Gonzalez Kane. Panelists: Tamara Almeida, Angela Besharah, Martha Burns, Erin Carter, Marcia Johnson, Heath V. Salazar.

March 25, from 5:00 – 6:30 pm: Colour. Culture. Curtain. Cross-racial Casting on Contemporary Stages (Room 106). Mediator: Nicole Stamp. Panelists: Dian Marie Bridge, Courtney Ch’ng Lancaster, Tanisha Taitt, Paula Wing.

Check the full line-up details and book advance tickets. It’s an intimate venue, and last night was sold out and then some, so advance booking strongly recommended.

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:

 

Community, conflict & discovery in New Ideas funny & poignant Week 3 program

NIF 2016It’s the final week of Alumnae Theatre’s New Ideas Festival (NIF),  and the Week 3 program features an extra bonus show: a lobby play. So get to the theatre early (around 7:30 p.m. to get a good spot in the lobby near the staircase to the mainstage) for this extra NIF treat.

The Nurse (lobby playby Francine Dick, directed by Mandy Roveda and featuring actor Margaret Rose Keery). A delightful short solo piece, and very meta as actor Keery plays an actor reluctantly preparing for a callback for Romeo and Juliet. She starts out being certain she’s not right for the part, but as she enlists assistance from the audience to read with her while she prepares – against her will – she learns something about the part and possibly about herself. Strong, engaging work from Keery.

Provenance (by Linda McCready, directed by Pam Redfern). Disillusioned chef Alicia (Fleur Jacobs) has high hopes when she makes a trip to Webster’s Falls with art professor Martin (Eric Edquist), who she hopes will authenticate a painting she plans to sell in order to fund her own Italian restaurant. Jacobs brings a lovely sense of sass and adventurousness as Alicia; and Edquist’s is adorkable as the awkward, precise and decidedly not outdoorsy professor. A sweet two-hander with some interesting and surprising discoveries.

Trying (by Norma Crawford, directed by Juliet Paperny). The double meaning of the title of this very funny and touching play becomes evident very quickly as three at-risk young adults wait for their yoga teacher (part of a mandated social services program). Great work all around from the cast: Michelle T. Baynton as the energetic, medicated handful Tracey; Adam Malcolm as the new guy Brent, conflicted and itching to get to the casino; Evan Walsh as the sweet, introverted misfit Jimmy; Susannah Mackay as the troubled, mysterious surprise guest Lily; and Annie McKay as their put-upon, prim teacher Beth. All are struggling to find their way – even the teacher.

Sick Kids Wanna Talk to You (by Carolyn Bennett, directed by Jennifer McKinley). A Sick Kids hospital street canvasser goes head to head with an irate passerby. Great combination of hilarity and devastating honesty, with a stand-out cast: Wendy Fox has excellent comic delivery and spunk as canvasser Makayla; and Lydia Kiselyk goes well beyond the straight man wither her performance of Joan, a woman of hawk-like intensity and focus, with more brewing beneath her tightly wound surface. As their initial adversarial dynamic shifts and changes, both come to important realizations.

Four Hours (by Joan Burrows, directed by Helen Munroe). An abduction? A carjacking? When a neighbour’s young child goes missing, local residents pull together and apart. Hoping for the best for the missing boy, residents can’t help but fear this is just one more example of how crime and safety have become critical issues in their area. The play pulls from the headlines (a very recent one, coincidentally) of amber alerts and discrimination, particularly against Muslim immigrants, as secrets and fears emerge among neighbourhood residents. Lovely work from this ensemble cast: Samantha Adams, Armand Antony, Nikki Chohan, Julia Haist, Mitchell Janiak, Tina McCulloch, Zachary McKendrick, Chris Peterson and Rebecca Wolfe. Stand-outs include Janiak, as young new resident Shu, the narrator of the story; and Chohan as Farah, the neighbourhood newcomer who’s forced to defend her own son against residents’ suspicions. Conflict, confessions and closure in this moving, insightful play.

Community, conflict and discovery in New Ideas funny and poignant Week 3 program.

The Week Three program continues to March 27, with talkbacks following the Saturday matinée performance. Also on Sat, Mar 26 is the noon reading:  Omission (by Alice Abracen,  directed by Michela Sisti).

For ticket info, visit the website. Tickets can also be reserved by calling the box office at 416-364-4170 (press 1) or in-person one hour before show time (cash only). Advance booking strongly recommended; this is a popular festival and the Studio is an intimate space.

Check out the Week 3 trailer: