Shades of gray in the intimate, entertaining, deeply poignant Between Riverside and Crazy

Allegra Fulton & Alexander Thomas. Set design by Anna Treusch. Costume design by Michelle Bohn. Lighting design by Steve Lucas. Photo by Dahlia Katz.

 

Coal Mine Theatre opened its Toronto premiere of Stephen Adly Guirgis’s Between Riverside and Crazy to a packed house at its home on Toronto’s Danforth Avenue last night. Directed by Kelli Fox, the intimately staged storytelling plays in the gray areas of family and the legal system as a widowed retired NYPD cop holds firm in his bid for justice while being a father figure to a strange and diverse assortment of adults both in his home and on the job. Highlighting issues of politics, government, race and racism, Between Riverside and Crazy reveals, with candor and humour, a world where everyone is hustling and everybody lies.

Riverside&C-photobyDahliaKatz-Jai Jai Jones, Alexander Thomas, Nabil Rajo
Jai Jai Jones, Alexander Thomas & Nabil Rajo. Set design by Anna Treusch. Costume design by Michelle Bohn. Lighting design by Steve Lucas. Photo by Dahlia Katz.

Widowed retired NYPD cop Walter “Pops” Washington (Alexander Thomas) lives in a sweet rent-controlled apartment on New York City’s Riverside Drive, which he’s currently sharing with his son Junior (Jai Jai Jones), recently released from jail; Junior’s girlfriend Lulu (Zarrin Darnell-Martin), a college student studying accounting; Junior’s friend Oswaldo (Nabil Rajo), a recovering addict and ex-con; and a dog (which we never see). He’s also juggling a discrimination suit against the City of New York after being shot six times by a white rookie, who also called him the n-word, during a raid on an after-hours bar back when he was still on the job; a lot of time and money have been going toward this bid for justice, with no immediate end in sight-and on top of losing his beloved wife Dolores, the entire ordeal has impacted on him both physically and psychologically.

Complicating matters for Walter, a friendly catch-up dinner at his place with his former partner Det. Audrey O’Connor (Claire Armstrong) and her fiancé Lt. Dave Caro (Sergio Di Zio) becomes an intervention of sorts when they try to convince him to drop the lawsuit and take the settlement the City has been offering before the deadline arrives. Cajoling turns to manipulation turns to threat, as Dave’s entreaties take a nasty turn—putting Walter’s home, and Junior’s newly acquired freedom from jail, in jeopardy. In the meantime, Junior is suspected of using the apartment to store stolen goods; Lulu says she’s pregnant; and Oswaldo’s visit to family goes terribly wrong. Then, there’s the impending drop-in from the local Church Lady (Allegra Fulton), who turns out to be a substitute for Walter’s usual church visitor—and even she has an angle to work on him!

Riverside&C-photobyDahliaKatz-Sergio Di Zio, Claire Armstrong, Jai Jai Jones, Alexander Thomas, Zarrin Darnell-Martin
Clockwise from left: Sergio Di Zio, Claire Armstrong, Jai Jai Jones & Alexander Thomas. Set design by Anna Treusch. Costume design by Michelle Bohn. Lighting design by Steve Lucas. Photo by Dahlia Katz.

Stellar work from Thomas as the gruff but loveable Walter; a bear of a man, Walter has a big heart, but finds it difficult to express it. An older and less vital man than he once was, he lashes out by refusing to eat well or take his meds, and self-medicates with alcohol. But despite his stubborn, grouchy demeanour, we come to really care about Walter; during intermission, a woman who sat beside me remarked (as we were so close to the action in the living room) that, at one point, she wanted to reach out to comfort him.

Jones brings an edge of vulnerability to the cool, streetwise Junior; a young man who needs his father’s good opinion as he struggles to be a grown adult and get his life on track. Rajo’s Oswaldo is a struggling lost boy whose knowing swagger belies a fragile soul; and Darnell-Martin’s sweet but dim-witted Lulu isn’t as clueless as she appears. Armstrong’s warm, Tyne Daly-esque O’Connor plays nicely off of Di Zio’s slick, charismatic Caro; while O’Connor’s brand of manipulation is more motherly, Caro employs that reserved for the darker side of politics—shifting from flattering appeals to reason, to mercilessly going for the jugular. And Fulton’s eccentric clairvoyant Church Lady adds some much needed comic relief and magic following some intense moments at the end of the first act.

Nothing is clearly black and white here—all of these moments and relationships play out in the gray areas. Everyone’s on the hustle and everybody lies, so it can be hard to tell who and what to believe. That doesn’t necessarily mean these are bad people; just flawed and desperate, using whatever resources they can—especially manipulation—to get what they want. The big question is: will they do what’s right or what’s easy? Just like real life.

Between Riverside and Crazy continues at Coal Mine Theatre until December 22; advance tickets available online. Please note the 7:30 p.m. curtain time for evening performances; matinées are Sundays at 2:00 p.m.

 

Love, sacrifice & the heartbeat of time in the delightful, poignant Sisters

Laura Condlln & Nicole Power. Set design by Michelle Tracey. Costume design by Erika Connor. Lighting design by Kimberley Purtell. Photo by Cylla von Tiedemann.

 

Soulpepper opened its striking world premiere of Rosamund Small’s delightful, poignant Sisters—a story of love, family, sacrifices and the march of time—to an enthusiastic full house last night. Inspired by Edith Wharton’s novella Bunner Sisters and directed by Peter Pasyk, Sisters is running in the Michael Young Theatre at the Young Centre.

It’s the turn of the century in New York City, and sisters Ann (Laura Condlln) and Evelina (Nicole Power) live quiet, regular lives, working and living in a small shop, selling notions and jams, and providing sewing services. Both are single at an age that would label them as spinsters; and their small, humdrum workaday lives get a spark of excitement when Ann buys a clock for Evelina’s birthday—and both become enamoured with the quiet, charming clockmaker Ramy (Kevin Bundy). Adding to the fun is their observant friend and neighbour, Mrs. Mellins (Karen Robinson), a widowed dressmaker who lives upstairs.

Torn between her feelings for Ramy and love for her sister, Ann steps aside to make room for a match between Ramy and Evelina—a decision made all the more heart-wrenching when Ramy takes a job in St. Louis, taking his new wife with him and leaving Ann to run the shop alone. Dependant on return customers and referrals from more privileged ladies—like the affable Lady with the Puffy Sleeves (Ellora Patnaik) and the wealthy, entitled Customer (Raquel Duffy)—Ann and Mrs. Mellins are also facing a new wave of industrialization; one in which much of the textile industry will be mechanized, with factories churning out large amounts of pre-made, less expensive off-the-rack goods. Dealing with the separation as best as she can, when Evelina’s letters stop coming and her letters come back return-to-sender, Ann sets on a search for Evelina’s whereabouts; and with the help of Mrs. Mellins, gathers some troubling information about Ramy in the process.

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Karen Robinson, Laura Condlln & Nicole Power. Set design by Michelle Tracey. Costume design by Erika Connor. Lighting design by Kimberley Purtell. Photo by Cylla von Tiedemann.

Lovely work from the cast in this tale of everyday heroism and perseverance in the face of longing, heartbreak and loyalty. Condlln is heartbreaking and inspiring as the older sister Ann; practical and better with the accounts than she is with the creative side of the business, Ann puts her own desire for romance aside to make her sister happy. Power (who Kim’s Convenience fans will recognize as Jung’s quirky boss Shannon) is a day-dreamy spitfire as younger sister Evelina; bored and skeptical that things will get better, Evelina is more pessimistic than her sister—but is able to see colours in music and match the perfect accessories to a dress. Robinson (who Schitt’s Creek fans will recognize as Ronnie Lee) is a treat as Mrs. Mellins, performing with gusto and impeccable comic timing; while she has a morbid fascination in the seedier side of the city, Mrs. Mellins’ penny dreadful notions of life outside the shop make way for sage advice and motherly watchfulness over the sisters. And Bundy seduces as the reserved, gallant German clockmaker; shy, sickly and precise, Ramy is a mystery man of changeable temperament—which perhaps makes him all the more attractive.

The perspectival, display case-like set with a raked floor (Michelle Tracey), atmospheric lighting (Kimberly Purtell), stunning period costumes (Erika Connor) and haunting music box music (Richard Feren) make for an aesthetically pleasing, finely honed view of this world.

Sisters reminds us of the precarity of life for working women; reliant on men and those who are better off in general to make something of their lives. And of the saving grace of love, hope, faith and determination—with a little help from family and friends.

Sisters continues at the Young Centre until September 16. Get advance tickets online or call the box office: 416-866-8666 or 1-888-898-1188.

Love, family, forgiveness & legacy—falling in love with Kim’s Convenience over & over again

Photo by Cylla von Tiedemann: Jean Yoon & Paul Sun-Hyung Lee

Everybody loves Appa. When Paul Sun-Hyung Lee made his entrance as the Kim patriarch (marking his 423rd performance in the role) for Soulpepper Theatre’s remount of Ins Choi’s Kim’s Convenience, the packed house in the Michael Young Theatre at the Young Centre erupted into applause.

I first fell in love with Kim’s Convenience during its sold-out run in the 2011 Toronto Fringe Festival; arriving super early at the Bathurst Street Theatre (now the Randolph Academy) box office with my 10-play pass in hand (this was before my media accreditation). Then I had the pleasure of seeing Soulpepper’s production in May 2012 and fell in love all over again. I’m also a huge fan of the Canadian Screen Award-nominated TV series on CBC. So I was very happy when I, along with my friend Lizzie (who’d also seen it onstage twice before), had the opportunity to see it again last night.

Directed by Weyni Mengesha, Kim’s Convenience takes us along a day in the life of a mom and pop variety store in Toronto’s Regent Park neighbourhood. For those familiar with the TV show, there really is a Kim’s Convenience, located at Queen/Sherbourne—and the exterior of the store is used in the show. Unlike the TV series, however, the play is set around 10 years later, with Janet (Rosie Simon) and Jung (Richard Lee)* now in their early 30s. And Appa, who is nearing retirement, starts his day receiving an offer from a local real estate-connected friend Mr. Lee (Ronnie Rowe Jr.) to buy the store; and finds himself considering the future—especially in the face of urban development and neighbourhood gentrification. He and Umma (Jean Yoon) have a big decision to make. Do they sell? And, if they don’t sell, who will take over the store? For Appa, Kim’s Convenience is his story, his legacy.

Janet, still living at home and working as a professional photographer, has no interest in pursuing the family business. And her older brother Jung hasn’t been seen or heard from since he left home at 16—a point that comes up when a police officer named Alex (Rowe) arrives at the store to answer a 911 call Janet made at Appa’s insistence over an illegally parked Japanese-made car. Alex was a friend of Jung’s when they were kids, and they’d since lost touch; and this chance reunion with the Kim family paves the way for an opportunity for Janet, who used to follow him and Jung around like a puppy when they were kids.

Generational clashes of the immigrant parents vs. first generation Canadian children variety emerge. Appa, who was a teacher back in Korea, opened the store and worked seven days a week with no vacations in order to give his family a better life in Canada. Appa’s and Umma’s sacrifices and struggles were all for their children, and things didn’t turn out how they’d hoped. Janet is 30, still single and working in a job that Appa finds questionable. And their hopes for their son were destroyed when an altercation between Appa and Jung turned violent, and Jung left home and never came back. Appa has a temper, evidenced in a fight between him and Janet over what is owed to whom after years of service at the store.

Umma has secretly been staying in touch with Jung, who is still working at a car rental place—a job he hates—and now the father of a two-month-old boy. The two have a poignant and revealing meeting at their local Korean church, where the family sang together at church events; Jung alerting his presence by joining his mother in a beautiful Korean duet. It’s the last downtown Korean church, and it’s closing after the land was sold to developers; the remaining churches are all now in the suburbs. It’s a time of change and upheaval, for the family and the neighbourhood—and everyone has some choices to make about the future. And, in the end, Appa realizes that his story isn’t about the store—it’s about his children.

Such beautiful, solid work from the cast. Paul Sun-Hyung Lee has been the only Appa, performing throughout multiple remounts, Canada-wide tours and the TV series; the role was made for him and fits him like a glove. I can’t picture anyone else playing Appa. An outspoken, opinionated man possessing of a sharp mind and an eye for detail, Appa is a keen observer of human nature, with a head full of facts about Korean history and a mouth full of words of condemnation for Japan. Despite his quick temper and abrupt manner, he’s a good man with a cheeky sense of humour; and concerned about the security of his family and community. Yoon, who has been Umma to his Appa on stage and on the small screen, is a perfect match and complement as family matriarch Mrs. Kim. A gentle and devout soul, with the patience of a saint, Umma works behind the scenes of her family life to keep her family safe—even if secretly and from afar, as in the case with Jung.

Simon gives a feisty, energetic performance as Janet, who has the wit to hold her own in mercurial, philosophical—often hilarious—banter with Appa. An independent young woman who can hold her own, she pushes back when her work, which she loves, gets called into question. Richard Lee does a great job mining Jung’s layers of conflict; restless, adrift and now a father himself, regret and longing come to the surface. Like his father, he too must consider the future—for himself and his young family.

Rowe does an awesome job playing four very different characters: store customers Rich (who gets schooled on the difference between ginseng and insam) and Jamaican Mike (who gets schooled on “steal”); the affable and empathetic Mr. Lee; and Alex the cop, who finds himself looking at Janet differently now that they’re both grown up (and gets schooled in courting in a hysterically unusual way by Appa).

It’s funny, it’s touching, it’s genuine. And even though it’s about a Korean Canadian family living in Toronto, the universal themes of love, family, forgiveness and legacy resonate no matter who you are or where you come from. And the standing ovation Kim’s Convenience got last night spoke volumes about the love audiences have for the show.

Kim’s Convenience continues the Michael Young Theatre in the Young Centre; booking in advance is strongly recommended. Get your advance tix online or by calling the box office at 416-866-8666.

Check out the 2017 production trailer:

And while you’re at it, check out Phil Rickaby’s interview with actor Paul Sun-Hyung Lee on Stageworthy Podcast.

Up next: Soulpepper will be taking Kim’s Convenience to New York City’s 42nd Street in July.

*Ins Choi will be playing Jung for select performances: Feb 23 at 8pm, Feb 24 at 8pm, and Feb 25 at 2pm and 8pm.