The Real Housewives meets Molière in GBTS’s hilariously delightful The Learned Ladies

Ensemble. Set & costume design by Brandon Kleiman. Lighting design by Siobhan Sleath. Photo by Cylla von Tiedemann.

 

The George Brown Theatre School (GBTS) graduating class opened its 2019-20 season at the Young Centre this week with a hilariously delightful take on Molière’s The Learned Ladies, translated by Richard Wilbur, directed by Sue Miner and choreographed by Bob McCollum. It’s The Real Housewives of Paris meets Molière as the translated text combines with a contemporary backdrop in a razor-sharp send-up of attention-seeking celebrity rich people and the famous poseur artists they fawn over. Plus ça change…

We are introduced to the characters in etalk red carpet style, complete with director (a hyper-efficient, clipboard-bearing Amelia Ryan), and self-involved celebrity hosts Joshua (sunglasses-wearing cock of the walk Jack Copland) and Salique (Siobhan Johnson, with runway model fetching fierceness). The parade of artifice and authenticity gives us a glimpse at the nature of the people we’re about to meet as they walk, stroll and pose across Brandon Kleiman’s colourful pink explosion of a set (think Barbie meets Dr. Seuss).

Left behind the glamourous clamour is the bespectacled, introverted Clitandre (an adorkably sweet turn from Barry McCluskey), trying to catch up with his sweetheart and intended bride Henriette (played with vulnerable resilience and independence by Cait MacMullin). When Henriette meets with her more popular older sister Armande (a hilariously vain and self-absorbed performance from Hannah Forest Briand) in a café, we learn that Clitandre was once smitten with Armande, who has sworn off traditional relationships like marriage in the interests of academic and artistic learning, and rejected his love.

Of course, the young intended couple have barriers to overcome, chiefly Henriette’s overbearing, judgmental mother Philaminte (a domineering Kardashian-esque philosopher turn from Jessica Pellicciotta), who boasts a small army of “learned ladies” in a self-directed academy of their own making: Arganiette (wacky, woo bottle carrying Ilona Gal), expert in Health and Health Trends; Violette (an imperious, verbally agile Renisha Henry), expert in Government and Justice; Dorimene (a fastidious, unforgiving librarian-esqe Amy Leis); and Lucillia (a spacy, star-gazing Lauren Merotto), expert in Stars and Other Worldly. They are joined by Philaminte’s sister-in-law (her husband Chrysale’s sister), self-proclaimed heart-breaker Aunt Belise (played with outrageously funny, delusional panache by Jane Neumier).

On Henriette and Clitandre’s side are her brow-beaten father Chrysale (played with goofy cowardly lion kindness by Kareem Mark Vaude) and his other sister, lawyer Aunt Ariste (Nastasia Pappas-Kemps, with brilliant, level-headed good sense and wide-eyed energy). Rounding out the group are Chrysale and Philaminte’s household servants: Martine the maid (a cheeky, forthright and irreverent Iris Hallman) and Butler Lepine (Ian Williams, with a combination of uptight decorum and the enthusiasm of one who’s swallowed the poseur Kool-Aid).

Philaminte has other plans for Henriette, choosing celebrity boy wonder poet Trissotin (a hysterically classic, physical poseur artist turn from Brian Le) as husband for her youngest daughter. Trissotin has his eye on someone else; and problems of his own, when his talent and reputation are challenged by poetry performance power couple, lovers Vadius (Sansom Marchand, in a proud, haughty cypher turn) and Mademoiselle Fosina (an intimidating, sensual turn from Jacqueline JD Plante). Adding insult to injury, Philaminte gives her blessing when the jealous, attention-seeking Armande decides she wants Clitandre back!

Finally finding the gumption to stand up to his bossy wife, Chrysale hatches a plan with his sister Ariste to make it right for Henriette and Clitandre. And, as this is Molière, things have a way of working out—in some unexpected, surprising and wacky ways.

The Learned Ladies, George Brown
Ensemble. Set & costume design by Brandon Kleiman. Lighting design by Siobhan Sleath. Photo by Cylla von Tiedemann.

The razor-sharp satire pokes great fun at the fond and foolish rich people who become celebrities for no apparent reason other than for their over-the-top antics and ridiculous wealth; and those among the art and media glitterati who achieve fame with their mannequin good looks and artiste du jour popularity. And it rips into those who are slavishly and superficially dedicated to learning, their noses stuck in books and their heads up their asses—intolerant of and excluding those who don’t meet their unforgiving, idiotic standards. Through the red carpet galas; spa days; poetry tableaux; and yoga classes that are part yoga, part Tai Chi, part voguing—we see how artificial and disingenuous these idle rich folk are. Thankfully, authenticity, acceptance and inclusion win the day.

The Learned Ladies continues at the Young Centre until November 16; advance tickets available online or by calling the box office at 416-866-8666 or 1-888-898-1188.

Check out GBTS’s 2019-20 season, and keep up with this year’s graduating class on Facebook.

 

Mystery & memory in the delightfully whimsical, darkly funny, compelling DIANA (I Knew You When We Were Fourteen)

Ian Goff & Alexa Higgins. Photo by Barry McCluskey.

 

Falling Iguana Theatre Co., in association with The Centre for Drama, Theatre & Performance Studies (CDTPS), University of Toronto, presents the delightfully whimsical, darkly funny and compelling DIANA (I knew you when you were fourteen), by Falling Iguana co-founders Alexa Higgins and Ian Goff, with contributing playwright Sarah Higgins. A physical theatre, dark comedy mystery journey—weaving movement, memory, fantasy, fact and fiction in a fairy tale-like detective story—when Diana disappears after a high school dance, Michael is determined to find out what happened to her. Supported by consulting director Gillian Armstrong and dramaturg Sharisse LeBrun, DIANA opened for a short run in the Robert Gill Theatre at U of T last night—presented as this year’s CDTPS Alumni Performance Project.

Inspired by a footnote at the end of Michael Ondaatje’s poem Elimination Dance that read: “Diana Whitehouse, where are you?”, DIANA traces the individual paths of high school classmates Diana (Alexa Higgins) and Michael (Ian Goff) as they grow into adulthood—with Michael determined to find out what happened to Diana when she disappeared after a high school dance when they were in grade nine. Stretching out across the years, across Canada from small-town New Brunswick, to Vancouver, to Toronto—with side trips in Europe—we’re introduced to the cast of characters they cross paths with; all set to a sparkly, rockin’ 80s soundtrack.

Fact, fiction, fantasy and memory intertwine in a tale that is part dark comedy mystery and part fairy tale. Incorporating music, dance, movement and a cast of characters, we watch Michael investigate as gossip and recollection merge in the stories and perceptions about Diana and her parents. And we see events unfold from Diana’s perspective; confirming, denying and refining what people think they know about her and her family. Darkly funny, at times tender and compelling, lyrical and balletic, the audience gets caught up in both journeys as Michael searches for the truth, and Diana reaches out for a life away from the small-town rumour, judgement and assumptions about her and her parents.

Outstanding work from Higgins and Goff in this 60-minute marathon of storytelling; conveying character, emotion, action and place through monologue, dialogue, dance, movement and practically zero props/set pieces with energy and precision. Higgins brings a sardonic sense of humour with an edge of loneliness to the pragmatic, restless Diana. An enigmatic presence at school—which is what draws Michael to her—Diana struggles with flying under the radar of the small-town gaze while at the same time longing to break free. Goff is delightfully awkward, earnest and curious as Michael; unlike Diana, Michael is an open book, and his sharp focus and positive demeanour keep him on his mission to find Diana, in spite of his own personal heartbreak. And the two are hilarious as honeymooning couple Steve and Sarah; experiencing comic misadventure during a tandem bike tour around Paris. And as assorted elderly and/or gossiping neighbours, telling tall tales of the family who used to live in that house.

Memory can really be a funny thing; and can often say more about us than about the actual events we’re recalling. Tainted by judgement and assumption, and eroded by time, we may not really know what we think we know.

DIANA continues at the Robert Gill Theatre until September 15, with evening performances at 8pm, and matinées at 2pm on Sept 14 and 15; tickets available online or at the door.

A delightful, insightful evening with Oscar in the witty, thoughtful Introducing Mr. Wilde, or Work is the Curse of the Drinking Class

Red Sandcastle Theatre A.D. Rosemary Doyle has teamed up with Jennifer Watson and Dorian Hart to launch The Wilde Festival, which opened with its inaugural production of Neil Titley’s one-man show Introducing Mr. Wilde, or Work is the Curse of the Drinking Class at Red Sandcastle’s storefront space at Queen St. East and Logan, Toronto last week.

Hart sets the tone for Titley’s intimate performance with a pre-show selection of beautiful nocturnes by Irish composer/pianist John Field, who invented the Nocturne. Field’s work served as an inspiration for Frederic Chopin’s compositions—and Chopin was a favourite of Wilde’s.

Introducing Mr. Wilde is performed in three parts. When Titley first appears onstage, it is as himself—in affable, accessible lecturer mode. Engaging and entertaining, he offers up a brief history of the show—which has been performed all over the world and to great acclaim at the Edinburgh Festival—and a quick timeline overview of Wilde’s life. In particular, we track Wilde’s 1882 lecture tour to Toronto; and Titley found the only venue still standing, not demolished or destroyed by fire, is Niagara Falls. And Wilde was apparently unimpressed by the great wonder of nature. Perhaps he only saw the American side.

Then, something truly remarkable happens. Titley transports us to 1898, to a Paris café where he shifts from himself as 2017 lecturer to Oscar Wilde, a year after he was released from his two-year prison sentence. The transformation is remarkable, both physically and vocally. As Wilde, he regales us with thoughts and anecdotes—with razor sharp wit, charm, unapologetic irreverence, and disdain for the mediocre and disingenuous. It’s not all fun and satire, though. There is an impassioned, deeply moving account of his experience in jail; and combined with that keen observation and ability to poke fun at society, it makes for a lovely nuanced, mercurial and poignant performance. Titley masterfully evokes the energy of Wilde; so much so, you can feel you’re sitting in the room with him.

Through it all, even when times are at their roughest, we see a man intent on pursuing a life of pleasure, art and beauty. Sucking the marrow out of life, even in his final days of penury and failing health, Wilde is the soul of wit to the end—a man who made the most of his life until his death at 46 in a Paris hotel.

We then return to 2017 to a short Q&A with Titley, during which one audience member asked if it was true that Wilde’s final words were “One of us has to go,” referring to the wallpaper in his hotel room. It’s highly likely. However, there is some question about his death bed conversion to Catholicism; it’s possible that his gesture in response to Ross’s query to bring a priest was misinterpreted—and he wasn’t signaling affirmation, but rather reaching for a cigarette. So his conversion could have been entirely accidental.

This is a must for all Oscar Wilde fans—or even if you’re just curious about the man. Whether you know a lot or nothing about him, it’s an entertaining and informative ride. I hear Titley is heading out on a cross-country train trip next week. If VIA Rail is smart, they’ll let him perform the show on the train.

A delightful, insightful evening with Oscar in lecture and first-person musings in the witty, thoughtful Introducing Mr. Wilde, or Work is the Curse of the Drinking Class.

Introducing Mr. Wilde, or Work is the Curse of the Drinking Class continues at Red Sandcastle until Jan 15; reserve your spot in advance by emailing redsandcastletheatre@gmail.com or by calling 416-845-9411.

Keep an eye out for future Wilde Festival productions; the website is under construction (look out for it at thewildefestival.com). In the meantime, check out this interview with Doyle about the The Wilde Festival in Xtra.

Photo: Neil Titley – by Jennifer Watson.

NSTF: Opposing forces battle for supremacy in the underworld of audience influence in the diabolically charming Clique Claque

Pea Green Theatre Group brings its own brand of dark period comedy/melodrama with Mark Brownell’s Clique Claque, directed by Sue Miner; running now in the Factory Theatre Mainspace as part of the Toronto Fringe Next Stage Theatre Festival (NSTF).

Clique Claque takes us to 1880s Paris, where we meet Madame Clothilde, aka the Chef de Claque (Michelle Langille), and her husband Yannick (Robert Clarke), who run a group of professional clappers paid to manipulate audience response to theatrical performances. They can turn a bad play into a smash hit and mediocre actors into stars. Their ingénue employee Clemantine (Thalia Kane) may seem to be the picture of naiveté and innocence, but she’s a veteran of the game; though all is not well for her.

Enter young Victor (Victor Pokinko), a one-time music prodigy and current out of work musician, newly arrived from Canada, and looking for inspiration and a job. The Claque takes him on and he proceeds with his education, and in more ways than one. As he becomes instrumental in the Claque’s plan to overthrow an opposing gang of audience influencers—a group called the Clique, led by mature student Dubosc (Ron Kennell), who brutally heckle bad performances—Victor finds he may be in for more than he bargained for. Ultimately, he must choose between what is true and right, and the bitch goddess Fame.

Incorporating some cheeky but gentle audience participation, Clique Claque is an entertaining and engaging show, featuring a stand-out cast. Langille is mesmerizing as Clothilde, the seductive mistress of manipulation. Good cop to husband Yannick’s decidedly bad cop, she may be the wife in the marriage, but one gets the distinct impression that it’s she who wears the pants. Clarke is the villain you love to hate as devilishly devious, cynical and thuggish as Yannick; he represents the dark, seedy underbelly of the Claque’s endeavours, while Clothilde brings the illusion of respectable professionalism.

As Clemantine, Kane brings some lovely layering and conflict; a young woman of some experience, she knows the harshness of the world too well and feels trapped in the Claque. There’s a lost, wistful sense of longing for something better. Pokinko’s Victor is a great combination of wide-eyed innocent and game lad; disillusioned with the world of art himself, he starts out just wanting to eat, but finds himself seduced by the prospect of money and fame. Kennell’s Dubosc is a sophisticated picture of art and academe. A man with a quick, wry wit and unexpected talents, Dubosc is a fierce crusader with a deep appreciation of the good life and that which is beautiful, especially beautiful young men.

With shouts to Nina Okens for the stunning period costumes.

Opposing forces battle for supremacy in the underworld of audience influence in the diabolically charming Clique Claque.

Clique Claque continues in the Factory Theatre Mainspace until Jan 15. Get your advance tix and passes online; and check out the full NSTF schedule.

Photo: Michelle Langille and Robert Clarke – by Mark Brownell

Pamela Williams’ photography brings us In the Midst of Angels

Williams_Pamela_ParisStatue
Paris Nude – photograph by Pamela Williams

I visited another stunning art exhibit last night: photographer Pamela Williams’ In the Midst of Angels at Sunderland Hall (First Unitarian Congregation of Toronto at 175 St. Clair Ave. W. – St. Clair W./Avenue Rd.).

I first became aware of Pamela’s’ work years ago in a newspaper piece – possibly NOW Magazine – about her upcoming appearance at the annual summer outdoor art show in Nathan Phillips Square. The piece included an image of “Siren,” a reclining nude woman. It took my breath away. And it was a cemetery monument.

When I went to that show, I met Pamela and her mum, who often comes out to keep her company at her booth, and had a chance to chat. I purchased one of her photography books – which, as a then struggling actor working part-time, was all I could afford – and vowed that I’d purchase a print of “Siren” one day. Years later, I did – and have since added “Herald” and “Water Nymph” to my collection. And it was through Pamela that I met artist/filmmaker/animator Patrick Jenkins, who also happens to be her life partner.

Pamela has travelled to Europe (Paris, Rome, Pisa, Genoa, Vienna) and Buenos Aires, touring old cemeteries, capturing images of monuments in black and white. The marble sculptures are so detailed and beautifully wrought, the resulting photographs are alarmingly life-like. You can almost see the figures breathe. In “Reflection,” the lace of the woman’s veil is so precisely rendered, you feel that if you touched it, you’d be touching fabric. The rose on the woman’s lap in “Rose,” its petals so delicately carved, you can imagine the soft satin feeling. The fine detailing of angel wing feathers, like in “Herald” from Vienna. “Water Nymph” is one of the few pieces that is not a monument, but a fountain in the cemetery Pamela visited in Buenos Aires. Some of the figures are inviting (the angel cradling the toddler in “Comfort”), grief-stricken (the inconsolable angel in “Grief”) or tormented (the reclined angel in “Genoa Angel”), while some appear to be relaxed, at peace, content. “Paris Nude” is marble, but looks like she’ll get up and walk around. You can find many of these images in the book In the Midst of Angels, one of a few printed volumes of Pamela’s work.

Pamela Williams exhibits regularly at the Terrace Gallery and various outdoor art shows around Toronto, and also give digital photography classes, as well as slide show lectures about her work and travels. Drop by her website, get on her mailing list – and keep an eye out for her.

This is the final week of In the Midst of Angels – up in Sunderland Hall until April 21. Hours: Tues & Wed 5-9 p.m., Thurs 7-9 p.m., Sun 12-3 p.m. The show closes on Sunday with a Meet the Artist from 1:30-3:30 p.m.

If you miss this one, Pamela has another exhibition coming up at Yorkminster Park (1585 Yonge St. – north of St. Clair, at Heath, Toronto), from May 1-29 – opening on May 5 (12:30 – 2 p.m.). Hours: Mon – Fri: 10 – 2, Sat: 12-4 (Pamela will be there on Saturdays 2-4 p.m.).