The Howland Company joins forces with Bad Dog Theatre for a Toronto Fringe run of improvised theatre, creating a new show every night inspired by traditional farces with Entrances and Exits, directed by Paolo Santalucia and running on the Factory Theatre Mainstage. Split into two parts, the scene starts in the living room, then flips to the bedroom, where we see the same scene play out but from a different vantage point.
Last night, host and FX operator Connor Low set the stage and collected suggestions from the audience: a type of party and three sounds you don’t want to hear coming from a bedroom. We got New Year’s Eve party; and breaking glass, a blood-curdling scream and a gun shot. Hilarity ensues, with tension-filled marriages, grudge-filled resentment and competition, secret passions, startling revelations and a college wrestling uniform.
Last night’s ensemble featured the hilarious improv stylings of Ghazal Azarbad, Conor Bradbury, Nigel Downer, Dylan Evans and Liz Johnston (the ensemble also includes Ruth Goodwin). With high-energy antics and side-splitting shenanigans, these actors turned on a dime to create this wacky fun slapstick tale of friends and frenemies gathering to ring in the New Year.
Entrances and Exits returns to the Factory Mainstage tonight (July 14) at 9:15 pm and July 15 at noon; these guys are sold out, but you may be able to snag some rush seats if you arrive early.
Ever wonder where the misfit toys went after Santa took them off the island? How about that original ending to A Charlie Brown Christmas that the network execs didn’t want you to see? And how Oliver Twist became an activist?
Wonder no more, my friends. For this holiday season, Second City presents Twist Your Dickens. Written by former TheColbert Report writers Peter Gwinn and Bobby Mort, and directed by Chris Earle, with music direction by Ayaka Kinugawa, it’s running right now at the Greenwin Theatre at the Toronto Centre for the Arts.
If you’re looking for a straightforward comedic retelling of A Christmas Carol, you ain’t getting it here. Starring Seán Cullen and Patrick McKenna, and featuring award-winning Second City alumni Jason DeRosse, Nigel Downer, Sarah Hillier, Karen Parker and Allison Price, Twist Your Dickens plays with sketch comedy and improv as it weaves other classic holiday favourites with Dickens’ famous Christmas tale, twisting and turning the storytelling—and the fun—in wacky, unexpected ways. Think secret Santa at the Fezziwigs’ office Christmas party; Tiny Tim’s sleepover; Oliver Twist’s orphan protest.
Leading this wacky band of performers, Cullen gives us a deliciously nasty and darkly funny Scrooge; callous and money grubbing, with hints of the Grinch, he has a game, child-like quality—which comes in handy on his journey with the ghosts. McKenna does a fabulous job, juggling several supporting characters, including the woebegone Jacob Marley; the chains he forged in a miserable life linked with confessions shared by audience members, inspiring a round of hilariously bizarre improv. McKenna also does a hysterically hyper-cheerful (or is he?) Fred, Scrooge’s nephew; he does a mean Jimmy Stewart George Bailey too.
Rounding out the ensemble is a fine group of sketch comedy/improv performers. DeRosse is Bob Cratchit, Scrooge’s put-upon but faithful clerk (or is he?); he gives a stand-out performance as Linus in the alternate ending for A Charlie Brown Christmas, as the gang reacts to his speech at the school Christmas pageant. Karen Parker plays Mrs. Cratchit, Bob’s supportive wife who can barely stand to tolerate Scrooge—and has some interesting suggestions on that score. And she shines with the song stylings of Ruby Santini, delivering her own personal, hilariously inappropriate take on classic Christmas songs during a recording session (featuring McKenna as her baffled, stressed out producer). Hillier plays Tiny Tim, with a decided twist; this kid may be schlepping along with an ill-fitting crutch, but he’s no wilting wallflower.
Downer calls out the show’s obvious and not so obvious anachronisms as the Heckler; and does an awesome job as the rad, energetic Ghost of Christmas Past. And Price is hilarious as the drunken party girl Ghost of Christmas Present and the prankster Ghost of Christmas Future.
With shouts to the design team Jackie Chau (set), Melanie McNeill (costume) and Christina Cicko (lighting), and stage manager Andrew Dollar.
Second City serves up the fun with a trippy mashup of holiday classics in Twist Your Dickens.
Twist Your Dickens continues in the Greenwin Theatre at the Toronto Centre for the Arts until December 30. Get your advance tix online; for group discounts (8 plus), call THE Group Tix Company 647-438-5559, outside GTA 1-866-447-7849 or visit the group box office online.
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
Written by the ensemble and directed by Carly Heffernan, assisted by Nigel Downer, with music direction by Lee Cohen, Come What Mayhem! features SC Toronto veterans and new faces: Roger Bainbridge, Kyle Dooley, Becky Johnson, Brandon Hackett, Lindsay Mullan and Ann Pornel. Tackling everything from relationships and dating, bullying and consent, Black Lives Matter and racism, politics, transit, health and gender, the cast holds no punches – and delivers each scene with mercurial timing and big laughs in this hilariously scathing look at ourselves and our world.
Stand-outs include the wistful romantic musings of Mullan’s quiet Shoppers Drug Mart clerk, which included audience participation; Pornel and Dooley’s Tinder chat, with its pointed look at how we exoticize race; and Johnson’s hysterically awkward navigation of her date’s (Bainbridge) encounters with his exes. The show also features some thought-provoking moments. Hackett goes from poignant and introspective when date night meets Black Lives Matter (with Mullan) to outrageously funny as the guy who’s proud as heck about his restaurant order (where he also showcases his singing chops); the no-nonsense Pornel (who also brings awesome vocals to a song about her perfect guy) schools her girls’ night out bffs (Johnson and Mullan) on what “fat” is and isn’t; and Bainbridge is electric as the darkly funny game show host of You Oughta Know, which also featured audience participation and consequences as it slammed ignorance about world issues.
Last night’s show ended with a third set, where the ensemble did some rounds of improv; riffing off audience suggestions with witty word play and a scene that took us from a barber shop to France in a wacky trip of hair styling and relationships.
With shouts to set designer Camillia Koo for the awesome Gardiner Expressway structure and graffiti art; and to SM/lighting designer Meg Maguire for keeping things moving along smartly, and snapping us in and out.
Lightning round social satire that burns so good in Second City Toronto’s hilariously insightful Come What Mayhem!
Take a look in the Come What Mayhem! mirror and laugh – it sure as hell beats the alternative. For show times and tickets, check online.