Fear, loathing & melancholy at an office party in the razor-sharp, edgy, timely Casimir and Caroline

Hallie Seline, Cameron Laurie & Alexander Crowther. Set & costume design by Ken MacKenzie. Lighting design by Jareth Li. Photo by Dahlia Katz.

 

The Howland Company presents the North American premiere of their adaptation of Ödön von Horváth’s Casimir and Caroline, based on the original translation by Holger Syme, and adapted by Paolo Santalucia, Holger Syme and the company. Razor-sharp, edgy and timely, we’re front and centre witnesses to the goings-on at an office summer party, where bigwigs and nobodies alike eat, drink and dance as fast as they can on the rooftop patio while they all still have jobs. Running in parallel collapse are the tensions and crises between the titular engaged couple and the various corporate machinations and relationships that churn among their co-workers. It’s a one percent vs. 99 percent world of “winners” and “losers”, and no one is as they seem. Directed by Paolo Santalucia, assisted by Thom Nyhuus, Casimir and Caroline opened its run in the Scotiabank Community Studio at Streetcar Crowsnest last night.

Caroline (Hallie Seline) is enjoying some fun time with colleagues at their summer office party on a rooftop patio—until fiancé Casimir (Alexander Crowther) shows up in a mood and pisses on her parade. He got fired from his job driving their boss Rankin (James Graham) the day before, he’s broke, his cellphone doesn’t work and he’s pissed that Caroline invited him to the party. With brutally honest friends Frank (Cameron Laurie) and Frank’s girlfriend Liz (Caroline Toal) on his side, Casimir stomps in and out of the party, becoming incensed when he sees Caroline chatting with newly met co-worker, the fashionable Sanders (Michael Ayres), and later witnessing her being hit on by corporate sleazeball Rankin!

Add to the mix the boyish intern Trevor (Michael Chiem), who’s been tasked with minding the popsicle stand; the intimidating boss lady Shira (Kimwun Perehinec), visiting from the Montreal office; the neurotic Mary from HR (Veronica Hortiguela), who worships Shira and wants to rise up the ranks; and her cool, sharp-tongued co-worker pal Ellie (Shruti Kothari)—and you have a lively, fascinating field guide of some favourite office animals.

It’s a one percent vs. 99 percent world of “winners” and “losers” where anyone can lose what they have at any time and without warning. There are those at the top, trying to maintain or grow their position; those who want to be at the top, in some cases by any means necessary; and those who are either stuck at the bottom, or who have fallen from corporate and social grace. Everyone is wearing a mask of some description, and true colours are revealed as the action unfolds. And as the party fun and jocularity among colleagues devolves, so too does Casimir and Caroline’s relationship.

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Hallie Seline, Caroline Toal, James Graham, Shruti Kothari, Veronica Hortiguela, Cameron Laurie, Alexander Crowther & Michael Ayres. Set & costume design by Ken MacKenzie. Lighting design by Jareth Li. Photo by Dahlia Katz.

Outstanding performances all around. Seline’s Caroline has a strong sense of determination and resilience, edged with lovely sense of vulnerability; and Crowther’s Casimir is a tightly wound combination of bouffon Stanley Kowalski and hurt little boy. Laurie is both intimidating and comic as the ex-con Frank; and there’s great combative chemistry with Toal’s edgy, gruffly candid Liz. Graham’s Rankin is an entitled #MeToo poster boy, but there’s something deep and sensitive there too; and Perehinec gives stylish dragon lady Shira hints of magnanimous warmth and openness.

Ayres brings an affable charm to fashion writer Sanders, keeping us guessing whether Sanders’ smoothness has something to hide. Chiem is adorably cheerful as Millennial intern Trevor, who must decide if he wants to venture into the dark side of corporate life. Hortiguela brings both comedy and pathos as the socially awkward, ambitious Mary; and Kothari’s chill, sharply candid, in-the-know Ellie makes for the perfect foil—though Ellie’s cruelty may not always be meant in kindness.

The storytelling is nicely supported by Jeremy Hutton’s sound design and Evan MacKenzie’s composition, featuring frenetic, whirling retro accordion music in the pre-show (a nod to the 1930s German origins of the play) and some heavier urban music sounds; and Reanne Spitzer’s choreography, wild and flailing, with some synchronized group dancing.

The melancholy is balanced by absurdity—with the old adage about comedy equals tragedy plus timing in high evidence here. And elements of the ridiculous among the characters are ultimately full of poignancy. Disappointment, disillusionment and discouragement abound. The world is a fucked-up place and the ground is shaky for everyone—and that changes how people behave and present themselves. In the end, those who are genuine, sharply candid and able to express what they want are the ones who’ll make out okay.

Casimir and Caroline continues at Streetcar Crowsnest in the Scotiabank Community Studio until February 9; advance tickets available online. This is going to be a hot ticket, so advance booking is strongly recommended.

NSTF: Love, grief & celebrating life in the deeply moving, resonant musical Every Silver Lining

Allison Wither & Laura Piccinin. Photo by Tanja-Tiziana.

 

Silver Lining Productions brings its Toronto Fringe 2019 breakout musical theatre hit Every Silver Lining to the Factory Theatre Mainspace for the Next Stage Theatre Festival. Written by Laura Piccinin and Allison Wither, and directed by Jennifer Stewart, with music direction by Aaron Eyre, Every Silver Lining takes us on a journey of love, friendship, grief and a celebration of life as a family and a group of high school students navigate the loss of a son, brother and friend to cancer. The songs are both profoundly insightful, revealing and catchy—resonating deep in the heart—performed with impressive vocal chops and great sensitivity.

Seventeen-year-old Andrew (Daniel Karp) has leukemia and is looking forward to his last round of chemo. Hiding his illness from even his closest friends, he just wants to get back to school, hang out with his friends and live as normal a life as possible. He and his teen sister Clara (Allison Wither) are good buds, but since his diagnosis, she’s been feeling invisible at home, drowning in the extreme life-changing routine and tension-filled atmosphere; and even having to put some of her own life on hold while she drives Andrew to appointments and keeps him company during chemo sessions. Their mother Judy (Alison J Palmer) is fearful and hovering, and getting on Andrew’s nerves; and dad Kevin (Luke Marty) is caught in the middle, acting as peacemaker between his wife and son while the family lives with the stress and uncertainty of Andrew’s prognosis.

At school, Clara’s BFF Emily (Laura Piccinin) gently prods and advises her on how to get to know the cute new guy Ben (Alex Furber). Clara’s not sure she’s up for it, but finds herself drawn to Ben; and Andrew is happy to be back with his gamer friends Jeremy (Joel Cumber), Bev (Jada Rifkin) and Sam (Ben Skipper). This period of apparent normalcy is short-lived as Andrew comes down with a critical infection, and his chances for further treatment are gone.

Andrew’s friends are stunned to learn of his death—especially as they hadn’t known he was ill—and find themselves facing the death of a loved one their own age for the first time. They’re well-supported by their arts and science teacher Ms. Vella (Starr Domingue), who gives them space to share their thoughts and feelings. Dealing with so many feelings—about Andrew, dealing with school work and tests, blossoming feelings of attraction—and experiencing the various stages of grief is painful and confusing. But, ultimately, the friends pull together to support each other, remember Andrew and celebrate his life.

Delivered with heart and impressive vocal chops—and nicely supported by musicians Aaron Eyre (piano), Erika Nielsen (cello) and Alex Panneton (percussion)—the cast takes us from laughter to tears; performing beautifully composed songs featuring moving and catchy melodies, resonant counter melodies, and soaring harmonies. Karp gives the outgoing Daniel a combination of brave face and resilient resistance; struggling, even fighting, for normalcy when his life has been turned upside down in the face of an unknown outcome. Wither’s performance as the introverted, irreverent Clara is a nuanced portrait of a teen working through complex, challenging times; the sometimes tough, give no fucks exterior belies her inner conflict and fear of losing her brother. She loves her brother, but she hates what the disease is doing to him and their family; and feels guilty for doing so. Palmer and Marty’s grounded, present performances as parents Judy and Kevin run the gamut from hope to despair; Palmer’s loving helicopter mom and Marty’s supportive middleman dad are doing the best they can while facing the unthinkable loss of a child.

Furber gives an adorkably lovable performance as the cute, somewhat nerdy Ben; there are some lovely moments with Wither as Ben and Clara get to know each other and explore their growing attraction. Piccinin and Cumber add some great, and much needed, comic relief as the effervescent extrovert Emily and the goofy, fun-loving Jeremy. Piccinin gives Emily a warm, protective, enveloping hug vibe, while Cumber’s Jeremy is more sensitive than at first glance, using gentle humour to support his friends through their grief. Rifkin gives a poignant performance as the socially awkward Bev; and Skipper does a nice job revealing Sam’s anger about Andrew’s death, and toward Andrew himself, as Sam deals with his grief. Domingue is lovely, engaging and supportive as Ms. Vella; and makes for an understanding, approachable oncologist.

Profoundly poignant and inspiring—and full of spirit, hope and love—in the end, Every Silver Lining is about recognizing and being open to the love and support of family and friends during times of fear, loss and grief; and sharing, remembering and celebrating the life of the departed loved one as part of the acknowledgment of, and working through, the stages of the mourning process.

Every Silver Lining continues in the Factory Theatre Mainspace until January 19; check the show page for exact dates, times and advance ticket purchase.

FireWorks Festival: Real-life fame, fortune & fall in the entertaining, heart-felt Belle Darling Klondike Queen

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Lindsay Sutherland Boal. Set design by Teodoro Dragonieri. Costume design by Adriana DeAngelis. Lighting design by Liam Stewart. Photo by Nicholas Porteous.

Alumnae Theatre Company (ATC) opens its annual FireWorks Festival of new works with Natalie Frijia’s Belle Darling Klondike Queen, directed by Lori Delorme, with music direction by Anita Beaty—running upstairs in the Studio. Part cabaret, part vaudeville, all heart—this highly entertaining and engaging piece of musical storytelling takes us on vaudeville star Klondike Kate’s (born Kathleen Rockwell) real-life journey of fame, fortune and fall, all set against the backdrop of fading days of the Klondike Gold Rush.

Put on your boots, leave your pick and sing along at the Portland Alaska Yukon Society’s 1931 Sourdough Reunion, featuring headliner—none other than the famous star of vaudeville stage—Klondike Kate (Lindsay Sutherland Boal)! Alumnae Theatre’s Studio Theatre has been transformed into a vaudeville music hall for this real-life tale of the highs and lows of Kate’s storied career in Canada’s North, and dreams of becoming a nation-wide vaudeville impressaria across the U.S.

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Sarah Kaufmann, Madeleine Keesmaat-Walsh, Roxhanne Norman & Lindsay Sutherland Boal. Set design by Teodoro Dragonieri. Costume design by Adriana DeAngelis. Lighting design by Liam Stewart. Photo by Nicholas Porteous.

Accompanied by a fine ensemble of multi-talented, multi-tasking actors (Sarah Kaufmann, Roxhanne Norman and Madeleine Keesmaat-Walsh), with piano player Calvin Laveck tickling the ivories, Kate takes us on a whirlwind musical and storytelling tour of her life—from wayward Victorian Catholic schoolgirl (Kathleen), to vaudeville chorus girl (Kitty), to headliner Belle Darling Klondike Queen (Kate), and a near miss as Pantages theatre partner and impressaria.

Kate has no use for being a “lady” in the traditional Victorian sense of the word, and sets off on an adventure of her own making—breaking gender barriers and the rules as she goes. Taking us back to the “good ‘ol days” with song, story and satire, the God’s honest truth is that these meanderings of nostalgia can’t erase the personal and financial risk, danger and heartbreak of those who tried their luck—and put their strength and resolve to the test—searching for gold in those freezing cold Northern mountains. All for fame and fortune.

Sutherland Boal gives a powerhouse performance as the ambitious, fearless Klondike Kate—a role that amply showcases her considerable vocal chops as she belts out rousing music hall tunes and caresses melancholy ballads. Sassy, classy, gutsy and irreverent, Kate turns away from what’s expected of her as a “good Victorian lady” to carve out her own path and live on her own terms. And beneath the seasoned showmanship and razzmatazz of Kate’s vaudeville persona, Sutherland Boal digs deep to reveal the broken-hearted woman who reached for it all only to find her ultimate dream of business partnership taken away. Disappointed, but not discouraged, she soldiers on—the show must go on, after all.

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Sarah Kaufmann. Set design by Teodoro Dragonieri. Costume design by Adriana DeAngelis. Lighting design by Liam Stewart. Photo by Nicholas Porteous.

She is well-supported by a stand-out ensemble; changing character on a dime in this fast-paced, alternately slapstick and poignant trip through music hall shenanigans both on and off the stage. Kaufmann is adorably Puck-like in her comic turns as the crafty entrepreneur Sophie, and a lusty young sourdough (a Yukon resident) on the make. Norman performs with a playful glint in her eye—and has an outstanding set of pipes herself—in her saucy turn as Kate’s pal and vaudeville partner Gertie; and the charming and irresistible, but false, Alexander Pantages. And Keesmaat-Walsh brings hilarity and swagger as Kate’s gruff boss Arizona Charlie and an awkward strong woman act, among others.

It’s a real-life adventure of fame, fortune and fall—told with song, story and heart. But you don’t have to believe me; check out the trailer (scroll down on the show page).

Belle Darling Klondike Queen continues in the Alumnae Studio Theatre until November 10; get advance tickets online or by calling 416-364-4170 (ext. 1), or pick up in-person at the box office one hour before curtain time (cash only). There will be a post-show talkback with the director, playwright and cast following the Saturday, November 9 matinée performance.

FireWorks continues its three-week run until November 24, presenting a new show each week: Crystal Wood’s Grief Circus, directed by Paige Foskett (Nov 13-17); and Genevieve Adam’s If the Shoe Fits, directed by Heather Keith (Nov 20-24).

 

 

Living with ghosts of crimes past in the haunting, darkly funny, immersive The Good Thief

David Mackett. Photo by Allison Bjerkseth.

 

Fly on the Wall Theatre presents Conor McPherson’s The Good Thief, directed by Rod Ceballos and running at the Dora Keogh Irish Pub (141 Danforth Ave., Toronto, east of Broadview). Featuring an outstanding performance from David Mackett, this haunting, darkly funny, immersive piece of solo storytelling goes to Heaven and Hell and back again before it lands solidly in Purgatory. Part personal anecdote, part confessional, a low-level thief recounts numerous past sins, brief glimpses at redemption and the ghosts that haunt him to this day.

Order a pint, pull up a chair and hear The Narrator (David Mackett), a low-level criminal specializing in thievery and intimidation, tell his tale of life, love, criminal misadventure, narrow misses, crazy good luck and heartbreaking tragedy as a standard scare job goes sideways—and he ends up on the run with the target’s wife and young daughter. Suspecting that he’s been double-crossed by his powerful boss Joe Murphy—now the boyfriend of his ex Greta—and betrayed by his partners in crime, he finds himself being pursued for kidnapping. Trying to keep himself, Mrs. Mitchell and Neve out of harm’s way, he finds sanctuary in the country with the help of his buddy Jeff, the three have a moment of respite. Until all Hell breaks loose again.

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David Mackett. Photo by Allison Bjerkseth.

Mackett gives a compelling, entertaining and poignant performance throughout, playing all the notes between black and white of this deeply flawed, irreverent but sympathetic character. Haunted, torn, conflicted and resourceful, our scrappy thug of a Narrator is a charming rogue of a fellow; recognizing his flaws, he’s candid—sometimes brutally so—circumspect and self-aware. Trying to do the right thing, even as he’s committing a crime, and thwarted by forces beyond his control, he’s faced with the double-sided coin of good luck and bad luck as he savours rare moments of beauty and tranquility, and mourns the senseless moments of violence and loss.

As The Narrator looks back on his life, and his part in these events, he finds he must eventually face up to what he’s done—for better or worse—and find a way to live with the ghosts and regrets, and try to make up for it somehow.  And, to varying degrees, the same could be said of us all.

The Good Thief continues at the Dora Keogh until October 29; advance tickets available online. It’s an intimate venue, so advance booking or early arrival recommended; box office opens a half hour before show time.

The Sad Blisters: April 12-27 at The Commons

Photo: Esther Thibault (from her wedding)

 

Poking my head out of hiatus to jump onto the blog with details of Glass Hammer Productions’ upcoming run of Andrew Batten’s The Sad Blisters, directed by Victoria Shepherd, and featuring Bonnie Gray, Andrea Lyons, Anne McDougall, myself and Esther Thibault.

It’s a hilarious, poignant dramedy about family, memory, love—and a wedding!

The Sad Blisters runs April 12-27 at The Commons (587a College St., Toronto). Performances run Thur/Fri/Sat at 8pm, with matinees Sat & Sun at 2pm. Running time: approx. 80 mins. Tickets: $20 regular; $15 student/senior/arts worker. CASH ONLY at the door.

Check the Facebook event page for more info, photos and wedding anecdotes, as well as advance ticket purchase (Brown Paper Tickets link pending as of this posting; in the meantime, there’s a reservations email).

I’m honoured and happy to be working with this team of amazing, talented theatre artists. Hope you can join us!

 

News & upcoming hiatus!

As promised, I’ve got some news, including an accompanying Spring hiatus for the blog…

Back in January, I was invited to join the cast of an indie production of The Sad Blisters, a new play by Andrew Batten, directed by Victoria Shepherd. It’s a quirky, funny, poignant family dramedy with an all-female cast—so, of course, I loved the script immediately. Our first read-through is tomorrow!

It’s been almost 11 years since I performed in a theatre production (Wit at Alumnae Theatre); I’ve done staged readings, stand-up and singing performances in the meantime, as well as seeing/reviewing a lot of theatre. So I’m very excited to be returning to the stage—and working with this team!

Since we’ll be rehearsing and performing on weeknights and weekends, I’ll be putting the blog on a two-month hiatus for March and April so I can focus time and energy on the play. I’ll still be seeing a few shows—and shouting out shows on social media—just not reviewing or interviewing.

The Sad Blisters runs April 12-27 at The Commons—so save the dates! Stay tuned to Facebook, Twitter, etc. for details, including performance dates/times and advance ticket purchase info. I’ll be posting info here on the blog as well.

Happy March! Here’s hoping Spring arrives soon.