Nightwood Theatre – life with more cowbell

Rich tapestry of image, sound & dance tells a powerful story without words in remarkable Century Song

Neema Bickersteth in Century Song—photos by John Lauener

Nightwood Theatre partners with Volcano, Richard Jordan Productions UK and Moveable Beast Collective to present Century Song, opening last night in the Guloien Theatre at Crow’s Theatre’s home at Streetcar Crowsnest.

Created by soprano/performer Neema Bickersteth, choreographer Kate Alton and director Ross Manson, the multimedia, multidisciplinary Century Song tells the stories of women throughout the past hundred years, incorporating the music of composers Sergei Rachmaninoff, Olivier Messiaen, John Cage, Georges Aperghis and Toronto’s Reza Jacobs; and including accompaniment by Gregory Oh (piano) and Ben Grossman (percussion, computer). The show also includes stunning projected images—black and white, and colour portraits, visual art pieces, and evocative landscapes, cityscapes and environments—projection design by Torge Møller and Momme Hinrichs from Germany’s fettFilm; and featuring the works of numerous photographers and artists.

This is a show unlike any I’ve ever seen—and I’ve seen a lot of theatre—so how can I describe to you this beautifully moving, powerful and innovative piece of storytelling that is really best experienced on an emotional and visceral level, as opposed to a cerebral level (though it does leave you with plenty to think about).

Opening in 1915 with Rachmaninoff’s Vocalise, we see a woman corseted and engaged in repetitive action, evoking housework and an agricultural setting. Moving into the 1920s/1930s, she is now clad in a sleek golden gown, placed in a magical forest—the setting, sound and imagery changing as time shifts into the 1930s and 1940s, with increasingly intense and horrific renderings of social and economic upheaval, and the devastation of war.

With projections covering both the back wall and floor, the zooming in on images provides the illusion of movement. This technical aspect takes on a playful effect as we journey from the 1950s through 1978, where we see multiple Bickersteths as a variety of characters in various living room settings. And it’s particularly cool when she returns to the stage, joining her projected, life-size selves.

The landscape gets intense again, as we’re whisked up a skyscraper and onto the roof where we see a vast, endless cityscape before us. It’s dark and stormy. Now dressed in a business skirt suit, she is caught up in a frenzy of chaos and speed—overwhelmed by the pace and bleakness of it all.

Returning to a quiet moment, Bickersteth closes with Vocalise for Neema by Reza Jacobs, a piece commissioned specifically for Century Song; with a haunting, yet soothing, lullaby quality that shifts into bluesy and playful tones, it promises to bring some to tears as we return to the safe confines of the theatre space in the present time.

Bickersteth is a wonder up there, bringing a powerhouse performance that combines operatic vocals and dance. Taut and precise, flexible and present, her work is masterfully fluid and evocative as she travels through time and space—presenting the lives of these women, with all their joys, fears, challenges, successes and expectations as they play out their roles.

With shouts to the design team: Camilla Koo (set), Rebecca Picherack (lighting) and Charlotte Dean (costumes).

A rich tapestry of image, sound and dance tells a powerful story without words in remarkable Century Song.

Century Song continues at Streetcar Crowsnest until April 29; advance tickets available online. Get out to see it—this is theatre like you’ve never seen.

Department of Corrections: The original post contained a typo in director Ross Manson’s surname; that has since been corrected.

Women of wit & wisdom debate religion in the compelling, funny, thought-provoking Unholy

Nightwood Theatre continues its 2016-17 season of groundbreaking theatre with Diane Flacks’ Unholy, directed by Nightwood A.D. Kelly Thornton, opening at Buddies in Bad Times Theatre last night.

Given the upcoming presidential inauguration and the accompanying Women’s March events, as well as ongoing changing attitudes towards religion, its treatment of women and LGBTQ people, and its place in our world, Unholy is a timely piece. It asks the question: Should women abandon religion?

Inspired by the 1989 documentary Half the Kingdom, Unholy is set as a TV debate, with host/moderator Richard Morris (Blair Williams) and debate teams of two women. On the pro side of the question are atheist lesbian pundit Liz Feldman-Grant (Diane Flacks) and excommunicated nun Margaret Donaghue (Barbara Gordon); on the con side are Orthodox Jewish spiritual leader Yehudit Kalb (Niki Landau) and progressive Muslim lawyer Maryam Hashemi (Bahareh Yaraghi).

Each woman is allowed two minutes at the podium to present her argument, followed by discussion and debate. This is an unapologetic, gloves off affair as arguments cover religion’s culpability for violence against women, women’s physical separation from male congregants, the niqab, family, sex, LGBTQ and women’s reproductive rights, and justice for pedophile priests. It is a battle of scripture interpretation, points of religious and secular law, wit and conscience—conducted with sharp intelligence and humour.

Woven into the debate scenes are some revealing monologues and tender, intimate two-handers; through these, we get glimpses into the private lives of these four women. Liz rejected Judaism when her now deceased partner Stacey received a terminal diagnosis. Margaret, in her role as a nurse and administrator at a Catholic hospital, made a decision the Catholic Church couldn’t abide. The love of Yehudit’s life married someone else. Maryam found strength in family tragedy, and love and acceptance in her family’s new life in Canada. As private and public lives collide, and the debate heats up, of course all hell breaks loose.

_mg_0059 — Diane Flacks & Barbara Gordon in *Unholy* – all photos by John Lauener

Flacks’ powerful script is matched by an equally strong cast that brings these fully drawn, complex women to life in this nicely staged, multi-media piece. As the atheist Liz, Flacks is a fierce, mercurial and determined debater; seeing the world of organized religion in black and white terms, Liz rejects the notion that religion can be a positive force in the world. Deeply wounded by the loss of her partner, out of her grief she became mad as hell at the state of organized religion and its impact on women—and chose her battle. Gordon brings a lovely, understated quietude to the soft-spoken ex-nun Margaret; beneath the surface, though, is a heart of strength, hope and courage. Not entirely convinced of her official debate argument, she is a disillusioned former soldier of the Catholic Church who disobeyed orders to follow her own conscience.

_mg_0150 — Niki Landau & Bahareh Yaraghi in *Unholy*

As Yehudit, Landau is both comic and poignant; shifting from a willful young woman to dutiful adult, she serves her family and community with strength and stand-up comic good humour. Circumspect in her interpretations of her Orthodox Jewish faith, she sees room for growth and change; this includes space for women to play a significant leadership role. Yaraghi is sharp and passionate as Maryam, and an excellent foil for Flacks’ Liz. Like her debate partner Yehudit, Maryam is hopeful and believes in a progressive Islam as she strives to break the barriers of stereotype and ignorance in a post-9/11 world where extremists are continually making headlines.

Turnabout is fair play for the male moderator. As women are largely relegated to the sidelines in day-to-day life, especially religious life, it is he who stands off to the side as the studio is dominated by the four women. Williams does a nice job with the affable Morris; as the women take the podium, he rides the fine line of refereeing authentic discourse and the desire to create gripping television.

Each of the women is an archetype: the wounded Fighter, the Lover with a patched up heart, the heartbroken Mother and the haunted Healer. Although each is broken-hearted and struggling with a crisis of faith, each is passionate, strong, wise and loving as she strives to stay hopeful and work towards a better world.

Serious issues, but Unholy makes you laugh a lot—and it’s going to stay with you well after you leave the theatre. It may even change your mind.

Women of wit and wisdom debate religion in the compelling, funny, thought-provoking Unholy.

Due to popular demand, Unholy has extended its run at Buddies to February 5; you can book tix in advance online or by phone. The run also includes several scheduled talkbacks:

Friday, January 20 – Gretta Vosper: as an atheist and a minister with the United Church of Canada, Gretta’s self-proclaimed motto is “Irritating the church into the 21st century.” SOLD OUT

Monday, January 23* – Nightwood Theatre Young Innovator Michela Sisti hosts a panel discussion about women in religion as part of Brave New Theatre’s response to Unholy. Joining her will be playwright Diane Flacks, Raheel Raza (journalist and inter-faith consultant) and Andrea Budgey (Humphrys Chaplain, freelance writer and environmental activist).

*Please note: there are no performances of Unholy on Mondays. For more information on Brave New Theatre, please visit their Facebook page.

Wednesday, January 25 – Stay post-show for a Q & A with the stellar cast members of Unholy.

Friday, January 27 – Lynn Harrison: a Reverend with First Toronto Unitarian, an interfaith, non-denominational congregation with its roots in social justice and inclusion.

Thursday, February 2 – Due to popular demand, atheist minister Gretta Vosper will return to share her insights on women in religion and inclusive atheism.

You can keep up with Nightwood Theatre on Twitter and Facebook. In the meantime, check out the trailer for Unholy:

Top 10 theatre 2016

Hope everyone’s been enjoying the holiday season. As we say goodbye to 2016 (for better or worse), it’s time for the annual top 10 theatre list. As usual, this is always a challenging endeavour, so I’ve added a few honourable mentions (in alphabetical order):

Top 10 theatre 2016

Blind Date (queer version): Spontaneous Theatre & Buddies in Bad Times Theatre

Chasse-Galerie: Kabin, Storefront Theatre & Soulpepper

Chelsea Hotel: The Songs of Leonard Cohen: Theatre 20, The Firehall Arts Centre & Theatre Passe Muraille

The Harrowing of Brimstone McReedy: Eldritch Theatre

The Hogtown Experience: The Hogtown Collective & Campbell House Museum

Late Night: Theatre Brouhaha & Zoomer LIVE Theatre

Mouthpiece: Quote Unquote Collective & Nightwood Theatre

The Queen’s Conjuror: Circlesnake Productions

She Mami Wata and the Pussy Witchhunt: The Watah Theatre

The Summoned: Tarragon Theatre

Honourable mention

The Clergy Project: SOULO Theatre

Killer Joe: Coal Mine Theatre

The Taming of the Shrew: Driftwood Theatre Group

Three Men in a Boat: Pea Green Theatre

Up next: The Next Stage Theatre Festival (NSTF), running January 4 – 15, 2017 at Factory Theatre.

The search for a woman’s lost voice in the vocal, physical, emotional tour de force Mouthpiece

Nightwood Theatre opened its 2016-17 season at Buddies in Bad Times Theatre last week, with a unique double bill of Quote Unquote Collective’s Mouthpiece and Anna Chatterton’s Quiver. Mouthpiece was the second show I saw last night.

Mouthpiece is a Dora award-winning Quote Unquote Collective production; created and performed by Norah Sadava and Amy Nostbakken, and directed/composed by Amy Nostbakken, it was featured as part of The RISER Project last year. I missed that production and was so glad I got to see it this time around.

A unique piece of theatre that combines a cappella harmony, dissonance, dialogue and physical theatre, the two performers tell the story of Cassandra, who awakes one morning to discover she’s lost both her mother and her voice. She must pick a casket, flowers and a dress to bury her mother in – and write and deliver the eulogy. And she can’t seem to get out of the tub.

Both performers often play a single character, at times speaking in unison; and, in Cassandra’s case, create a dialogue with herself. From the hauntingly beautiful a cappella harmonies, to unison voice characterizations, and socially apt insertions of fashion magazine titles, ad copy and modern-day references to violence against women, the audience is both moved and tickled as Cassandra struggles with conflicting emotions, inner turmoil and a funeral fashion crisis. How well did she – or anyone – really know her mother? Her grasping for words, as well as her voice, opens up into the broader search for women’s voices. How women speak. How women are heard. How women are perceived.

Sadava and Nostbakken give compelling and entertaining performances. Shifting seamlessly from moment to moment, they execute gorgeous, fluid a cappella harmonies, unison spoken word and expressive movements. Conveying tenderness and ferocity, their work makes for a truly engaging and evocative piece. And they pull off some fabulous celebrity impersonations too, as well as some fun audience participation.

The search for a woman’s lost voice in the vocal, physical, emotional tour de force Mouthpiece.

Mouthpiece continues at Buddies until November 6. You can see it in the double bill with Quiver or on its own. Tickets are sold separately; you can book in advance online or by phone.

You can keep up with Nightwood Theatre on Twitter and Facebook.

Check out the Mouthpiece trailer:

Love shots & family in the entertaining, quixotic, poignant Quiver

Written and performed by Anna Chatterton, and directed by Andrea Donaldson, Quiver incorporates a vocal processor, laptop and microphone, as well as a mini-sound and lighting board, to create atmospheric and vocal effects in this remarkable one-person show. As we enter the theatre, Chatterton is already onstage, DJ-like as she greets the audience and records pre-show announcement loops: recognizing that we are on Indigenous land, and cautioning against the taking of photos, etc. and cellphone use. There’s even a loop giving us the 411 on the fact that Chatterton is running all the lighting and sound cues. And that’s in addition to playing all the characters in this complex tale of love, family and archery super heroism.

We’re first introduced to 14-year-old Maddie, who lives with her divorced mom and 16-year-old sister Bea in an apartment so small that Maddie’s bedroom is the living/dining room. The primary storyteller in Quiver, Maddie shares her sharp observations of the world around her, particularly her mother’s bad romance with boyfriend Daniel, who turns out to be cheating on her with Bea; a revelation that turns their world upside down and leaves Maddie largely fending for herself as she navigates her own challenges at school and her first serious crush. In her solitude, she turns to her father’s abandoned archery equipment and the adventures of Arrowette, a kick-ass archer/superhero.

Quiver has a radio play vibe to it; and is a remarkable performance in its one-woman cast of characters. Funny, dramatic and quirky, Chatterton brings sharp, well-drawn characterizations – from the precocious, day-dreamy Maddie, to the 16 going on 25 Bea, to their wry-witted, laissez faire mom, and various friends and schoolmates. Turning on a dime as she changes character and manipulates her voice, it’s an impressive and engaging piece of solo storytelling.

Love shots and family in the entertaining, quixotic, poignant Quiver.

Quiver continues at Buddies until November 6. You can see it in the double bill with Mouthpiece or on its own. Tickets are sold separately; you can book in advance online or by phone.

In the meantime, check out an interview with Chatterton about Quiver. You can keep up with Nightwood Theatre on Twitter and Facebook.

And here’s the Quiver trailer:

Tantalizing treats & 2016-17 season sneak peeks @ Nightwood Theatre Dramatic Spring Social

It was a fabulous night of tantalizing treats and 2016-17 sneak peeks in very good company as Nightwood Theatre gave invited guests a sneak peek at its 2016-17 season at a Dramatic Spring Social, held at the home of Nightwood Board Chair Karon Bales on Wednesday night. The evening’s festivities included delicious food and drink, with wine supplied by GreenLane Estate Winery, and food from Sublime Catering and Beacon Restaurant Concepts.

kelly & beth — A.D. Kelly Thornton & Managing Director Beth Brown – photos by Taylor Trowbridge

Host Karon Bales welcomed us to her home, thanking us for our attendance as she highlighted the importance of theatre and the arts, and our shared dedication to the advancement of women. Nightwood A.D. Kelly Thornton and Managing Director Beth Brown echoed the importance of equity in the arts, hearkening back to the founding of Nightwood in 1979 – and shouting out founder Cynthia Grant, who was present – and its dedication to producing “relevant, dynamic and powerful theatre.” And that the low proportion of produced works written by women (22%) is evidence that, even in 2016, there is still a need for a women’s theatre.

We were then treated to excerpts from three of the four productions from Nightwood’s upcoming 2016-17 season:

Mouthpiece (Oct 21 – Nov 6, 2016 at Buddies in Bad Times Theatre). A Dora award-winning Quote Unquote Collective production; created and performed by Norah Sadava and Amy Nostbakken, and directed/composed by Amy Nostbakken. Presented as a double bill with Quiver.

Gorgeous, fluid a cappella harmonies, unison spoken word and expressive movements make this an engaging and evocative piece. Performing an excerpt from the second half of the play, Sadava and Nostbakken portray two sides of a character whose mother has died. Shifting from the hauntingly beautiful a cappella harmonies of a roots spiritual to the unison voice message from the woman’s aunt, the audience is both moved and tickled as this young woman deals with conflicting emotions, inner turmoil and a funeral fashion crisis. I missed the RISER Project production last year – and will be sure to see it this time around.

Quiver (Oct 21 – Nov 6, 2016 at Buddies in Bad Times Theatre). Written and performed by Anna Chatterton, directed by Andrea Donaldson. Presented as a double bill with Mouthpiece.

Chatterton incorporates a vocal processor, laptop and microphone to create atmospheric and vocal effects to orchestrate this multi-character one-person show. In the excerpt, 14-year-old Maddie observes the world around her, particularly her mother’s bad romance with boyfriend Daniel, who turns out to be cheating on her. This revelation is exacerbated further when her teenage sister tells them the one he’s cheating with! Funny, dramatic and quirky, it’s a remarkable and engaging piece of solo storytelling.

Unholy (Jan 15 – Feb 5, 2017 at Buddies in Bad Times Theatre). Written by Diane Flacks, directed by Kelly Thornton.

Set as a live, televised debate, four women argue the question: “Should women abandon religion?” The play weaves flashbacks with debate moments, where each woman’s personal life is revealed (showing us what’s not being said). In the excerpt, Niki Landau performed a flashback: a hilarious drunken Jewish wedding toast from the sister of the bride that turns into confession and accusations of favouritism.

Century Song (April 12 – 29, 2017 at Crow’s Theatre). A Volcano Theatre production; created by Neema Bickersteth, with Kate Alton and Ross Manson, directed by Ross Manson and performed by Neema Bickersteth.

Inspired by Virginia Woolf’s Orlando and Alice Walker’s In Search of Our Mother’s Gardens, Century Song combines song, movement and projected images to create a feast for the senses as the storytelling takes the audience on a stunning journey of 100 years of women and art.

With thanks to Nightwood’s Marketing Coordinator Taylor Trowbridge for the photos and Development Coordinator Victoria Leberge for the invite.

Coming up soon for Nightwood: The annual Lawyer Show fundraiser; this year, it’s Guys and Dolls (June 9-11 at the St. Lawrence Centre for the Arts). Also, coming up: the Creativity Gym; contact Michelle Alexander for info.

Can’t make it to The Lawyer Show, but want to support Nightwood? Consider making a donation.

You can keep up with Nightwood Theatre on Twitter and Facebook.

Assumptions, uncertainty & paranoia in powerful, eye-opening Refuge

_MG_2280-2 — Pamela Mala Sinha & Andrea Davis in Refuge – photos by John Lauener

There’s a heart-wrenching and thought-provoking piece of socio-political theatre running in the Tarragon Theatre Extraspace right now: Nightwood Theatre’s production of Mary Vingoe’s Refuge, directed by Kelly Thornton. The play was inspired in part by the award-winning CBC Radio documentary Habtom’s Path by Mary Lynk, as well as Vingoe’s personal experiences tutoring a woman from Ethiopia and hosting a Chinese student in her home. Refuge is presented in association with Amnesty International.

Community immigrant support group member Pamela Ross (Pamela Mala Sinha) tutors East African refugee Amleset Zerisenai (Andrea Davis) in English, and learns that Amleset’s son Ayinom, an army deserter, has been detained for arriving in the country without papers. She enlists the aid of immigration lawyer Saul Ackerman (Jason Weinberg), who eventually convinces her to take Ayinom in – much to the dismay of her husband Allan (Ryan Hollyman). With the assistance of interpreter Mebrahtu (Raïs Muoi), Ayinom gains a friend and a job. Shifting between past and present, Pamela, Saul and Mebrahtu are interviewed by a CBC interviewer (Mary Francis Moore) about Ayinom’s story.

_MG_1978 — Mary Francis Moore & Raïs Muoi in Refuge

We never see Ayinom – but his presence is felt strongly throughout. We never get a full picture of this young man, perceived as mysterious in that relatively little is known about him. Without documentation, authorities and allies must rely on first- and second-hand accounts of his status and character – an uncertain situation that provokes more questions than answers, as well as paranoia in a post-911 world. Exacerbating this is Pamela and Saul’s personal and legal history with the Air India bombing disaster, where Pamela lost her grandparents. Ayinom’s anxious mother describes him as a “good boy,” but we also learn from Mebrahtu that he was an uneducated young man, drafted into the army and handed a gun, and there are conflicting accounts of his rank and activities. And Ayinom’s quiet, unassuming personality gives them pause as well: is it due to the shock of the horrors of war and the long, terrible journey to get away – or is he up to something?

_MG_2046 — Pamela Mala Sinha & Jason Weinberg in Refuge

Nice work from the cast in this quiet, tension-filled piece. Stand-outs include Sinha, who brings an understated nuance to Pamela Ross’s inner conflict. Her head is at odds with her heart; and despite a reluctance to take Ayinom in, she wants to help Amleset and chooses to take a leap of faith and host him in her home – an undertaking that becomes even more challenging in the face of her husband’s growing paranoia and a complicated relationship with Saul. Weinberg’s Saul is a great combination of gruff charm and pragmatism on the outside with a warm-hearted centre that roots for the underdog. Beneath the bad jokes and sharp, realist attitude, he genuinely cares; like Pamela, Saul isn’t doing this so much for Ayinom as for someone he knows and cares about, and even though they have their doubts, they both want to believe in the good in this young man. Muoi is an informative delight as Mebrahtu; energetic, talkative and affable, he lays out the facts of the brutal situation in East Africa in a matter-of-fact, but never clinical, way. He doesn’t know Ayinom well, and they became close friends, but even he only knows what he’s been told and what he translates from Ayinom’s diary. And we get the sense that even he’s not sure what Ayinom is about.

Perhaps the most remarkable thing about Refuge is the physical absence of a key character. Ayinom is lacking (a word Pamela is teaching Amleset) in the action, but his presence is felt nevertheless. He is cared about, theorized about, talked about. But we never hear directly from him. We gather from others that he is a beloved son, a social cause, a refugee claimant under suspicion, a friend. He is determined, hard-working and well-liked, but quiet, solitary and uncommunicative. He has survived the bloodshed of war, travelled thousands of miles, enduring unknown and unspeakable horrors along the way. Ayinom is a young man seeking a better life, going through hell to get out of a horrific situation in his home country only to be put through a fresh kind of hell in the new country he longs to call home.

With shouts to set/costume designer Laura Gardner for the striking set design, with its cold whites and greys, footprints in the snow, and highly effective screen projections on fabric ‘walls’: the beautiful, eerie tree silhouettes and raging sea.

Assumptions, uncertainty and paranoia in the powerful, eye-opening Refuge.

Refuge continues at the Tarragon Extraspace until May 8; you can purchase advance tix online.

Check out the trailer: