The irrepressible Marie Dressler’s life, love & career in Alumnae Theatre’s delightful, entertaining Queen Marie

Naomi Peltz, Katherine Cappallacci, Siena Dolinski & Seira Saeki. Photo by Bruce Peters.

 

Alumnae Theatre Company closes its 100th anniversary season—with heart, moxie and rip roaring good fun— with Queen Marie, a musical by Shirley Barrie, directed by Rosemary Doyle, with music direction by Paul Comeau and choreography by Adam Martino.

Queen Marie is a biographical musical about Canadian-born 1930s Hollywood star actress/comedienne Marie Dressler. Director Doyle takes us to the vaudeville stage, complete with proscenium arch, a live band on one side and stall seating on the other. Using minimal set pieces, projected images up centre present show posters and images of various locations as we travel through Dressler’s storied life and career.

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Catherine Ratusny & Tess Keery. Photo by Bruce Peters.

Born Leila Koerber in Cobourg, Ontario, we witness Dressler being bitten by the acting bug at the age of five (Tess Keery), performing in tableaux realized by her mother (Catherine Ratusny, who also plays Dressler in her 40s). At 14, she lies about her age (Gabriella Kosmidis), saying she’s 18, and gets a job with the Nevada Travelling Stock Company and changes her name to Marie Dressler; launching her career and landing in the U.S.

From tableaux, to theatre, to vaudeville to the silver screen, Dressler’s career is a rollercoaster ride of ups and downs as she weathers the highs and lows of the business, embracing her ‘big girl’ brand with self-deprecation and good humour—and giving her all, and then some, to any part put upon her.

Shifting from theatre to movies, Dressler gets a break, working with fellow Canadian Mack Sennet (Adam Bonney); she goes on to work at MGM with Irving Thalberg (Conor Ling) and Louis B. Mayer (Rick Jones). Performing with the likes of Charlie Chaplin, Greta Garbo, Lionel Barrymore and Wallace Beery, Dressler packs movie houses with her comedic antics, and poignant, gutsy dramatic performances—receiving a Best Actress Oscar at the age of 60 (Leslie Rennie) for her performance in Min and Bill in 1930, and a nomination for Emma in 1932. A top box office draw in America at the time, she becomes the first female actor to appear on the cover of Time Magazine.

Embracing romance along the way, she meets and beings an affair with the charming Jim Dalton (Rick Jones), a married man with a wife in Boston who is smitten with Dressler, and woos her with gentlemanly manners and oysters. While happy to live the unorthodox life of an actor, Dressler longs for the stability and respectability of marriage, and she gets her wish; they later divorce after a series of unpleasant revelations regarding her shrinking bank account. Well into middle age, Dressler becomes smitten with Claire (Nina Tischhauser), a young nurse turned actress who she meets at an Oscar party. The two move in together and set up a cozy domestic and professional partnership, with Dressler acting as Claire’s acting mentor; but the relationship takes Claire away from her own dreams and aspirations—and Claire is faced with a hard decision.

Betrayed and cheated throughout her life—both personally and professionally—it is noteworthy that Dressler finds her primary source of support with her close network of women: her friend, astrologer Nella Webb (Siena Dolinski and Nance Gibson, playing Nella at different ages); her no-nonsense, fastidious maid/assistant Mamie Steele (Fallon Bowman and Indira Layne, playing Mamie at different ages); feisty cub reporter/fan turned screenwriter/Hollywood casting advocate Frances (Katherine Cappellacci); and her companion in later life, the tender, loyal caregiver Claire (Nina Tischhauser, who also plays Dressler in her 20s).

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Jessica Bowmer, James Phelan & Tess Keery. Photo by Bruce Peters.

It’s an ambitious production, imaginatively staged with a cast of 25 enthusiastic multitasking actors that includes 21 women, 10 of whom play Marie at various ages and stages of her hard-working, determined, never dull life. Paula Wilkie plays Dressler in the final scenes; despite a serious cancer diagnosis, Dressler eschews her new role as bed-ridden patient, opting to work on three MGM films in six months before dying at the age of 65. Shouts to all the Marie Dresslers (not previously mentioned: Michele Dodick, Katrina Koenig, Stella Kulagowski & Naomi Peltz) for their energy and panache! Other stand-outs include Ling’s snobbish Brit actor Dan Daley and hilarious turn as a petulant Hollywood film director; Jessica Bowmer’s adorably precocious Boy, who hawks newspapers, peanuts and oysters, and gets into scrapes with his competition; Tischhauser as Dressler’s supportive but conflicted lover Claire; and Rick Jones does a mean tap dance bit.

She’s the Queen! The life, love and rollercoaster career of the irrepressible star Marie Dressler in the delightful, entertaining Queen Marie.

Queen Marie continues on the Alumnae Theatre Mainstage until April 28. 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 PWYC matinees on Sunday at 2:00 pm.

The run includes a final Post-Show Talkback on Sunday April 22. Check out the fun trailer:

 

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Just before I sat down to write this review, I read in an Alumnae Theatre Twitter post that playwright Shirley Barrie had passed away; I’ve since learned that she’d been living with cancer and died on Sunday. I’m not sure if she was able to see this current production of Queen Marie, but Doyle, cast and crew did her proud. Thoughts go out to Shirley’s loved ones.

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Preview: Silly, half-baked schemes & fake identities abound in the charming, farcical Tons of Money

Back row: Neil Nicholas Kulin, Rob Neilly, Ana Gonzalez, Christopher Wakelin & Drew Smylie. Front row: Kory Preston, Len Henderson, Paula Wilkie, Konstance Koutoulakis & Charlie Parker-Patel in Tons of Money—photo by Thomas Kowal

 

Took a trip out to Scarborough last night for a sneak peek preview of the final dress rehearsal of Scarborough Players’ production of Tons of Money, written by Will Evans and Valentine, and adapted by Alan Ayckbourn. Directed by Jeremy Henson, Tons of Money opens at the Scarborough Village Theatre tonight.

Set in 1926 in the library of an English country house at Marlow, inventor Aubrey Allington (Christopher Wakelin) and wife Louise (Konstance Koutoulakis) are merrily carrying on their slapdash lives while mired in some serious debt; Aubrey has invented a new explosive material that he’s sure will make them millions, so he’s not worried. Then they receive word from lawyer James Chesterman (Kory Preston) that Aubrey’s brother has died, leaving Aubrey a large amount of cash in his will; in the event of Aubrey’s death, the inheritance will pass to his cousin George Maitland, who is believed to be dead but not conclusively. To avoid having all the inheritance go to their creditors, Louise hatches a plan for Aubrey to fake his death in a workshop explosion and miraculously return a few weeks later as cousin George and claim the cash.

Meanwhile, the Allingtons’ skulking butler Sprules (Drew Smylie) and watchful maid Simpson (Ana Gonzalez) are hatching a scheme of their own involving Sprules’ brother Henery (Len Henderson). And the Allingtons’ plan gets complicated with the appearance of Louise’s friend Jean (Charlie Parker-Patel), who has been secretly married to cousin George! Throw in the ongoing appearances of hard of hearing Aunt Benita (Paula Wilkie), lovesick gardener Giles (Rob Neilly) and a surprise third act arrival (Neil Nicholas Kulin), and you’ve got even more wacky, hilarious good times. And, of course, all hell breaks loose as secret plots and disguises collide.

The cast gives us a rip roaring good time—and they look like they’re having a blast. Koutoulakis (the fiery, strong-willed Louise) and Wakelin (the absent-minded, laissez faire Aubrey) have great chemistry and sense of chaotic fun as the Allingtons. Wilkie is a treat as Aunt Benita; constantly in search of her misplaced knitting, Benita’s not as dotty as she appears, and emerges as one of the sharpest minds in the room. Parker-Patel is the picture of the 1920s lady of leisure as the romantic, dreamy Jean; and Neilly brings bits of subtle, well-timed comedy to the heartbroken gardener Giles.

With shouts to the design team for the fabulous roaring 20s English country house meets art deco vibe: Greg Nowlan and Katherine Turner (set design), Katherine Turner and Jeremy Henson (set décor), Andra Bradish (costumes), Jennifer Bakker (lighting) and Sidnei Auler (sound). Great, fun staging elements in the silent film sequence off the top and the vaudevillian cowbell sound effect highlighting the gags.

Silly, half-baked schemes and fake identities abound in the charming, farcical Tons of Money.

Tons of Money continues at Scarborough Village Theatre till April 22; check the box office page for dates, times and ticket reservations; or call 416-267-9292. Click here for directions (the theatre is part of the Scarborough Village Community Centre), also home to the Scarborough Theatre Guild and Scarborough Music Theatre; the theatre is wheelchair accessible and parking is free.

With thanks to director Jeremy Henson and producer Linda Brent for having me in to see the final dress rehearsal last night, and to Erin Jones for the drive to/from the subway (and the coffee!).