Foul treachery, sweet slithering manipulation in Shakespeare Bash’d compelling, accessible Richard III

James Wallis in Richard III. Photo by Kyle Purcell.

 

Shakespeare Bash’d opened its 2018 season to a sold-out house at the Monarch Tavern last night with a classic tale of murderous machinations and royal double-crosses with its production of Shakespeare’s Richard III, directed by Julia Nish-Lapidus with associate director Megan Miles.

For those not familiar with the history and characters behind this drama: no worries, there’s a handy, brief introduction in the program to orient you to the background and major players in this story of violence, betrayal and plotting over the English throne.

The War of the Roses has just ended, with The House of York (who wore the white rose) victorious over the House of Lancaster (wore the red rose). Taking advantage of the recent upheaval and a country still divided, Richard of Gloucester (James Wallis) turns his brother King Edward IV (Trevor Pease), who’s been suffering ill health, against their brother Clarence (also played by Pease; do-able as Clarence and Edward are never in a scene together). Playing the long game, Richard is counting on Edward’s imminent death – which, when it comes to pass, only leaves him with two young princes to deal with.

Weaving a complex, tangled web of deceit that includes toxic gossip dissemination and emotional manipulation, Richard manages to calm the wrath of Anne (Jennifer Dzialoszynski), widow of the usurped Prince of Wales, who he slayed – in that classic complex and difficult two-hander that takes place over the casket of her dead husband. She later has little choice but to consent to marry him. Unrelenting in his drive and ambition, and dangerously unpredictable, even Richard’s followers become uneasy around him – and rightly so. As the bodies pile up on his way to the throne, friends who supported him – like Hastings (Kelly Wong) and Buckingham (Cosette Derome) – are executed when he whiffs even the slightest scent of disloyalty or hesitation in executing his orders.

And just when you think Richard can’t get any more disgusting, after he orders the assassination of his two nephew princes, he gets rid his wife Anne (poison) and goes on to demand that his brother’s widowed queen Elizabeth (Catherine Rainville) speak to her daughter Elizabeth (his niece) to prepare her to be his queen!

Richard III’s crimes do not go unpunished. In the end, the House of Lancaster rises up and Richmond (Drew O’Hara) rallies supporters to depose the tyrant king and reunify the country.

Outstanding work from the multitasking ensemble in this complex, dynamic tale of familial homicide, vengeance and bringing down a tyrant: Cosette Derome, Jade Douris, Jennifer Dzialoszynski, Suzette McCanny, Shalyn McFaul, Drew O’Hara, Trevor Pease, Catherine Rainville, James Wallis, Kelly Wong and Joseph Zita. Wallis gives us a subtle, cunning and menacing Richard. Richard is the king of fake news – and, as we know from current experience, when it comes to fake news, he who smelt it dealt it. Casually executing acts of horrible violence, Richard is adept at masking his true feelings and masterfully manipulates public opinion, playing the humble and devout servant of the realm when it suits his skeevy, scheming purposes.

Other stand-outs include Derome’s ambitious and sly Buckingham; friend and loyal supporter of Richard’s schemes, even she can’t help but be disturbed by his actions and orders. McCanny is fierce in her curses and merciless in her rage as Margaret, the widow of Henry VI. McFaul (as the Duchess of York, Richard’s mother) and Dzialoszynski (as Anne) give heartbreaking performances in their vengeance-filled grief over their lost husbands and kinsmen; overcome by circumstance and feelings of powerlessness, they fight back as best as they can with their words. And, speaking of fighting words, Rainville (Elizabeth) is fearless in her dagger spitting face-off against Richard, ferociously attempting to defend her young daughter even as she mourns her lost husband and murdered sons.

Pease gives several strong performances: the mild-mannered, baffled Clarence; the regal and struggling new King Edward; and the chilling Ratcliffe (Richard’s muscle). O’Hara is an inspiring Richmond, giving a rousing pre-battle speech in the vein of that famous Henry V speech; seeking to heal a brutally injured country, Richmond plans to bring peace and unity in his victory. Adding some welcome comic relief are Wong’s wry-witted, smug Hastings; and, sent to take care of Clarence in the Tower, O’Hara and Zita’s darkly comic assassins become hilariously dazed and confused when confronted with their target.

This minimalist production is staged effectively and dynamically in an alley format (audience on both sides of the long, narrow playing area); and the hard rock music interludes, and jeans, t-shirt and sweater costuming, give it a contemporary edge.

Foul treachery, sweet slithering manipulation and a tyrant falls in Shakespeare Bash’d compelling, accessible Richard III.

Richard III continues at the Monarch Tavern till February 11; advance tickets are already sold out, but if you arrive early, you can get on the wait list 30 minutes before show time ($25 – cash only).

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Whooping it up like it’s 1926 in the entertaining, intriguing Hogtown: The Immersive Experience

Mark Prince, Dan Willmott & Jerome Bourgault in Hogtown—photo by Sam Gaetz Photography

Back by popular demand, The Hogtown Collective returns to Campbell House Museum for a new run of Hogtown: The Immersive Experience—written by Drew Carnwath and Sam Rosenthal, and directed by Rosenthal—with new stories and adventures as the audience finds new intrigue and secrets around every corner and behind every closed door.

It`s the eve of the 1926 municipal election, and union boss Bob Delacourt (Dan Willmott) is hosting a big shindig at his home. The incumbent, conservative prohibitionist Mayor Thomas Foster (Jerome Bourgault) is up against the progressive, union- and booze-friendly Sam McBride (Mark Prince). And everyone`s making backroom deals, including McBride`s fierce wife Fanny (Kirstin Hinton).

Meanwhile, local scribe Ben Stein (Gord Gammie) divides his time between covering the event and wooing the McBrides’ daughter Ronnie (Sappho Hansen Smythe), a modern young woman with dreams of becoming a famous reporter. And country bumpkin brothers, the clumsy Tanner (Jonathon Ellul) and malapropism-dropping Jackson (Derek Keurvorst) Busch have high hopes of making loads of cash from their home-cooked hooch; and the menacing Gil Schwartz (Jorge Molina) hopes to get in on some big time gangster action with the rumoured arrival of Chicago rum-runner Franco Vitale (is he really there or not?).

The action starts out on the lawn around the house, as we take in various goings-on and meet some of the key players. Once inside, we are ushered in groups from room to room, getting the opportunity to see three different scenes. My group first entered the dining room, where the McBrides were hosting an intimate gathering of friends and supporters, including Delacourt, developer Lol Solman (Keurvorst) and clergyman Eddie Smalls (Ben Bain). It’s all aces until they’re interrupted by the appearance of a surprise guest—and it’s Mrs. McBride who’s the most infuriated by this unexpected arrival.

Upstairs, the Women’s Christian Temperance Union is having a meeting. Chaired by the imperious Mary O’Grady Hunt (Tara Baxendale), assisted by her demure daughter Eleanor (Jaymee Fuczek) and radical colleague Pauline Drabble (Andrea Irwin), these ladies are hell-bent on spoiling the fun. Even here, there is division on how to best accomplish their goal of keeping prohibition alive and getting Foster re-elected. Even O’Grady Hunt has a secret, which we learn by way of confession and cautionary tale when she has a mother to daughter sit-down with Eleanor, who she fears is getting too friendly with Lulu and Toni.

hogtown gals
Laura Larson, Karen Slater & Emmea Wiechers—photo by Sam Gaetz Photography

Downstairs in the gaming room, Shwartz is waiting on the outcome of some bets—and we’re ushered over to the basement speakeasy when his private meeting arrives. Over in the speakeasy, we can buy yourself a prohibited beverage while we wrap your ears around some hot jazz, courtesy of Cali-Mays Johnson (Michelle Piller) and her girls, accompanied by Colin Frotten on the ivories. It’s here that we learn that Foster’s daughter Maddy (Karen Slater) is working as a singer, and has set up a meeting with Dr. Libby Prowse (Claire Francis Muir) via her pal Anastasia (Emma Wiechers). Don’t worry, barkeep Mad Tom (Michael Lamport) is the soul of discretion, and Katie O’Malley (Susie Burnett) can find you some company or place your bets.

Then, we are invited to wander the house to discover what we may. Upstairs, baseball star Tommy Burt’s (Eric McDace) secret is revealed even as he discovers the secret of another; and his attempt to solicit help from Solman takes an unexpected turn. Wayward Catholic schoolgirls and wanna-be flappers Louise “Lulu” (Laura Larson) and Antoinette “Toni” (Arinea Hermans) may be okay on the dance floor as they try out for jobs in the speakeasy, but they may be in over their heads when it comes to handsome Tommy—lucky for them Detective Hank Dyer (Matt Richardson, also the fight director) steps in. And across the hall at the latest temperance meeting, Pauline makes a dramatic revelation as to how far she’s willing to go for the cause.

hogtown ronnie & tom
Sappho Hansen Smythe & Michael Lamport—photo by Sam Gaetz Photographer

It’s an entertaining and exciting ride. You never know who you’ll encounter or what’s going to happen. And everyone has a secret. The ensemble is fantastic—genuine and engaging storytellers fully inhabiting their characters, interacting on occasion with the audience (we are instructed to only speak when spoken to) to pull us into the story in an up-close and personal way. The show features several musical numbers, with stand-out vocals from Slater, Piller and Baxendale; and a charming duet from McDace and Hansen Smythe, as Tommy, feeling the pressures of external expectation, finds a kindred spirit in Ronnie McBride.

Secrets, back room deals and home-made hooch. Whooping it up like it’s 1926 in the entertaining, intriguing Hogtown: The Immersive Experience.

Hogtown continues at Campbell House till August 20; advance ticket booking strongly recommended—it’s a very popular show. Please note the 7:30pm start time; get there by 7:15pm to see the outdoor scenes. Get a taste from the trailer:

 

 

Power, plots & passion in the compelling, intimate & deftly performed Caesar

Kevin Kashani as Marc Antony and Melanie Leon as Julius Caesar in Caesar—photo art by Joseph Hammond

 

Wolf Manor Theatre Collective continues its 2016-17 season of startling, up close and personal theatre with its production of William Shakespeare’s Caesar, directed by Dylan Brenton and opening last night to a packed house in Kensington Hall.

Triumphant Caesar (Melanie Leon) is out of control and turned tyrant, while still managing to maintain support among everyday Romans, who want to crown her as Emperor. Her friend Brutus (Megan Miles) is deeply concerned about the impact her rule could have on Rome, while Cassius (Maddalena Vallecchi Williams) goes one step further and hatches a plan to take Caesar out of the equation. Cognizant of her friend Brutus’s popularity, Cassius recruits Brutus, as well as Casca (Felix Beauchamp) and others, to her cause: assassinate Caesar.

Forewarned by a soothsayer of dark portents on the Ides of March, Caesar is reluctant to make her regular trip to the Senate—and wife Calpurnia (Beauchamp) implores her to stay at home. However, her pride and vanity are stroked by one of the conspirators (Kevin Kashani) and she ventures out despite all warnings. And despite Cassius’s warnings to Brutus about Caesar’s favourite Marc Antony (Kashani), Brutus refuses to shed his blood and even allows him to speak at Caesar’s funeral.

After Caesar is killed, Brutus speaks before her fellow Romans to quell mounting fear, confusion and anger—and they are satisfied. That is, until Antony gives that famous speech at Caesar’s funeral and turns the tide of public opinion, sparking a war—with Antony and Caesar’s son Octavius (Beauchamp) on one side and Brutus, Cassius and their supporters on the other. When all appears lost, both Brutus and Cassius take their own lives, with Brutus’s reputation for pure intentions throughout this endeavour remaining intact.

For those of you who’ve seen earlier Wolf Manor productions, the gender fluid casting will be nothing new. Casting female actors in male roles and vice versa provides interesting new takes on familiar characters—and serves as a reminder that women are just as capable of pride, violence and power brokering; and men of tenderness, caution and introspection. The intimate, in the round staging gives a Coliseum feel to the set; we’re witnesses to these events, but we’re also the citizens of Rome. And the running image of the sands of time—pouring out of letters, wine bottles and even Caesar’s blood—hearkening to a sense of legacy and that, whether emperor or everyman, we are all bound for dust.

Brenton has an especially strong and compact cast for this tale of power and might for right. Miles gives Brutus a nice balance between eloquence and strength. Pensive and fair-minded, Brutus is a reluctant leader driven by a firm resolve to do what’s best for Rome, no matter what the cost—even to herself. Vallecchi Williams tempers Cassius’s blunt boldness with a sharp mind and an intuitive insight into men’s hearts. Her finger on the pulse of public sentiment, her plans go well beyond mere schemes and plots. And her love and friendship with Brutus reveal a gentler, emotional side; great chemistry between Miles’ mild-mannered Brutus and Vallecchi Williams’ fiery Cassius.

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Foreground: Maddalena Vallecchi Williams & Felix Beauchamp; Background: Megan Miles in Caesar—photo art by Joseph Hammond

Leon gives a great turn in two very different roles: the proud, vain and tyrannical Caesar; and Brutus’s fiercely loyal and loving wife Portia, where she plays a lovely two-hander in which Portia, beside herself with worry, begs to know what ails Brutus. Beauchamp also does a marvelous job with multiple roles: as the eerily quiet, menacing Casca; Brutus’s wide-eyed serving boy; Caesar’s wife Calpurnia, who relays a dream of dark portents; and the sturdy young Octavius. Kashani does a great job with the many sides of Antony; ready to spill blood after he’s spilled tears over Caesar’s corpse, he proves himself to be a master manipulator of mob mentality during his sly spin on the conspirators during the funeral speech, as well as a fine warrior—and is greatly underestimated by his enemies.

With shouts to the design team for creating the minimalist, evocative environment and atmosphere: Tessa Hallett (set), Nikolas Nikita (costumes) and Elizabeth Elliott (lighting).

Power, plots and passion in the compelling, intimate and deftly performed Caesar.

Caesar continues at Kensington Hall till May 28; full schedule and advance tix available online. Advance booking strongly recommended; it’s an intimate venue with limited seating and a very strong company.

You can keep up with Wolf Manor Theatre collective on Twitter, Facebook and Instagram. Looking to support great local indie theatre? Please consider supporting the company’s Fund What You Can campaign.