Suffrage, prohibition, love & puppets in Driftwood’s charming, timely, re-imagined Rosalynde (or, As You Like It)

Ximena Huizi & Sochi Fried. Production design by Sheree Tams. Photo by Dahlia Katz.

 

Driftwood Theatre Group puts a beloved Shakespearean heroine’s name back on the marquee with its charming, timely 2018 Bard’s Bus Tour production of the re-imagined Rosalynde (or, As You Like It), directed by AD D. Jeremy Smith. It’s 1918; and women’s suffrage, prohibition and WWI are at the forefront—and so is true love. I caught Rosalynde in Toronto at Ontario Place Trillium Park last night.

The Duke’s Distillery has been taken over by Frederick (Eric Woolfe), a hard-nosed gangster who has ousted his brother Senior to take over the business and run illegal booze across Lake Ontario to the U.S. Senior has fled to the Forest of Arden, finding rustic sanctuary with a small group of loyal followers. The banished Senior’s daughter Rosalynde (Sochi Fried) has been allowed to stay, as she’s the beloved friend of Frederick’s daughter Celia (Ximena Huizi)—but when he finds public opinion favouring his niece, he banishes her as well. Armed with a plan to flee to the forest disguised as brother and sister, the two young women sneak away with the company Fool Touchstone (Geoffrey Armour) in tow.

The neglected young Orlando (Ngabo Nabea) is facing similar struggles at home with his cruel older brother Oliver (Derek Kwan). When he goes to test his mettle at a local wrestling match, he and Rosalynde become mutually smitten; and he defeats Frederick’s man Charles (puppet, Megan Miles). When his faithful old servant Adam (Armour) learns that Oliver and Frederick are plotting against Orlando’s life, he urges his young master to flee—and the two leave their home for the safety of the forest.

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Ngabo Nabea, with Ximena Huizi & Sochi Fried in the background. Production design by Sheree Tams. Photo by Dahlia Katz.

The Forest of Arden is where the magic happens. Disguised as the youth Ganymede, Rosalynde advises the love-struck Orlando, as well as the love-sick shepherd Silvius (puppet, Kwan), whose rebuffed attentions to Phebe (puppet, Miles) are thwarted further by Phebe’s new-found attraction to Ganymede. And one of Senior’s (Woolfe) friends, the world-weary, profoundly disheartened suffragette Jaques (Caroline Gillis), searches for meaning and a reason to carry on as she observes life in the forest, the unfolding love stories and a Fool out for a wife. Love, reunion, and new perspectives on life and the world unfold—and the forest inhabitants demonstrate compassion, equity and brave determination. And yet, we’re reminded that not all will partake in the new rights and opportunities that emerge during this time: men and women of colour do not yet have the right to vote; and men of colour are denied the opportunity to serve in the war.

Stellar work from the ensemble in a production that entertains as much as it illuminates. Weaving in snatches of news on the suffrage movement, prohibition and the First World War, we get the sense of a time and place immersed in great upheaval and social change. The rural natives of the forest are all puppets, as are some of Frederick’s henchmen (Eric Woolfe is also the AD of Eldritch Theatre, specializing in horror and fantasy storytelling using puppetry, mask and magic)—masterfully brought to life by various members of the cast, especially Megan Miles.

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Megan Miles as Charles the wrestler. Production design by Sheree Tams. Photo by Dahlia Katz.

Fried is luminous as the mercurial, fiercely independent, giddy in love Rosalynde; coupled with Nabea’s brave, bold and adorably bashful Orlando, we see two abused young people forced to flee their homes and take charge of their lives—and coming to see the world, themselves and love with new eyes. The wisdom of women figures prominently in this production, from Huizi’s sharply witty, sassy, ever loyal Celia to Gillis’s poignant, well-travelled, experienced aviatrix Jaques. Jaques comes by her melancholy honestly, having seen—and feeling too much—of the world’s unfairness and cruelty. Here, the women school each other and the men in their lives: Jaques shares her experience with observant Celia; and the practical Rosalynde teaches the idealistic Orlando about the everyday nature of romantic relationships. Armour gives a hilarious, high-energy performance—bringing laughs and social commentary—as the quixotic scamp Touchstone.

Rosalynde (or, As You Like It) has one more performance at Ontario Place Trillium Park tonight (Aug 2) at 7:30 p.m.; thanks to the generous support of Ontario Place, admission is free—and Driftwood is happily accepting donations. Bring a chair, a blanket and bug spray (chair rental is available for $5—get there early). There’s a concession stand with drinks (including alcohol) and snacks; you can also score some sweet Driftwood merch over by the chair rental tent.

The Bard’s Bus Tour continues on its way, wrapping up its run on August 12. Check the Driftwood website for performance dates and locations; admission is free or PWYC, as indicated in the venue listing. Worried about weather? Check out the rain policy here.

For more on Rosalynde, check out director D. Jeremy Smith and actor Sochi Fried in an interview with Gill Deacon on CBC’s Here and Now.

 

 

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Toronto Fringe: So much big puppet fun in the hilariously playful, genuine Bendy Sign Tavern

From movie-inspired favourites like Swordplay: A Play of Swords and last year’s Fringepocalyptic Wasteland, Sex T-Rex keeps on bringing it as one of Toronto’s best scripted comedy companies. And this time, there’s puppets! Sex T-Rex returns to Toronto Fringe with Bendy Sign Tavern, featuring the work of master puppeteer and Sex T-Rex veteran Kaitlin Morrow, and running at The Paddock.

The Paddock is transformed into the Bendy Sign Tavern, where the human audience gets served by puppet and human staff (including bar owner Nico). The ambience comes complete with pop tunes on the stereo, a cool piano man in shades (Elliott Loran); and the TV plays puppet sports on PSN (Puppet Sports Network), rock video by superstar Tim Rek, a movie trailer and a hilarious human household product commercial.

Bendy Sign’s feisty and determined bartender Joan (Morrow) is over the moon at the beginning of her final shift at the bar— She’s looking forward to bigger and better things as she and her band head out on tour—and to stardom. Her laid back, soul patch-sporting co-worker Bob (Conor Bradbury) isn’t so thrilled; he’s secretly in love with Joan, but can’t bring himself to tell her.

Throw in the Bendy Sign’s favourite enigmatic, pun-dishing barfly Bill (Julian Frid), put-upon millennial server Weeds (Daniel Pagett), the bar’s cryptic and elusive owner Sal (Seann Murray) and adorable regular, the aging southern belle Marigold (Josef Addleman)—along with some surprise guests and other regulars—and you’ve got yourself some big fun. But beware the scary basement and the roving Bachelorette Wolves!

Joan’s dreams of rock stardom are crushed when she finds herself kicked out of the band, then renewed by the appearance of none other than Tim Rek himself! And he wants to throw an after-party at the bar! Joan’s efforts to enlist her co-workers to fancy up the place are successful, but Bob’s heart isn’t in it. In fact, he’d just love it all to go away—and he has some tough choices to make. All in the name of love.

Awesome work from the entire ensemble in this rollicking puppet rom-com—and Morrow’s puppets are amazing! With songs and surprises around every corner, it’s no wonder this show is selling out.

Big dreams. Secret love. A scary basement. So much big puppet fun in the hilariously playful, genuine Bendy Sign Tavern.

Bendy Sign Tavern continues at The Paddock until July 15, with shows every night at 7:30pm—except for July 9 at 8:30pm. Definitely book in advance for this one, folks; order your tix via the Bendy Sign Tavern showpage. Otherwise, get there early and take your chances at the door.

The Devil went down to Old Montreal in the foot stompin’, magical Chasse-Galerie

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Nicole Power, Kat Letwin, Hunter Cardinal, Tyrone Savage, Michael Cox, Tess Benger, Shaina Silver-Baird, Ghazal Azarbad & Alicia Toner in Chasse-Galerie – photo by John Gundy

Soulpepper opened the Kabin/Storefront Theatre production of Chasse-Galerie to a delighted full house at the Young Centre for the Performing Arts in Toronto’s Distillery District last night. With book adapted by director Tyrone Savage, assisted by Janet Laine-Green; music and lyrics by musical director James Smith; and choreography by Ashleigh Powell, Chasse-Galerie is a big fun, immersive, multimedia adventure that twists, turns and entertains.

When we enter the theatre, we find ourselves in the Flying Canoe pub on New Year’s Eve, greeted by members of the band/cast and availed of bar service – when our narrator Lucy (Ghazal Azarbad) emerges to tell us a tale of the Chasse-Galerie, a folk tale of a wild hunt in which those caught up in its path join the hunt forever.

On another New Year’s Eve, four coureuses des bois (i.e., female lumberjacks) are cold, exhausted and nearly out of whiskey. Alex (Tess Benger) longs to see her sweetheart, the lovely golden-haired fiddle player Jaune; Lea (Nicole Power) misses her red-headed whiskey maker Michel-Paul; coincidentally, so does Michelle (Kat Letwin); and Toba (Shaina Silver-Baird) doesn’t have someone special, but pines for music and romance. Fondly remembering their favourite Old Montreal pub, The Flying Canoe, the four women are dying for a road trip. There’s just one problem: it’s a three-day trek.

Enter Damien (Tyrone Savage), disguised as a weary frozen stranger, who offers them a way to get their wish and travel to the pub in hours. But his magic comes with conditions and a price: they must not swear or touch a cross, and they must be back by dawn. If not, their souls belong to him.

The women agree to his terms and travel by magic flying canoe to Old Montreal; convinced they’ll be fine as long as they don’t drink – especially Michelle, who has the biggest potty mouth of them all. Alex sets off in search of Jaune (Alicia Toner), and Michelle finds the lusty Michel-Paul (Michael Cox) before Lea does. And Toba becomes smitten with the bashful band leader Francois (James Smith), who is equally taken with her and gives her a fiddle lesson. Meanwhile, Lea meets a handsome cowboy who speaks in Shakespearian verse (the angel Uriel in disguise, played by Hunter Cardinal). To ensure that he reaps those four souls, Damien enlists Lucy’s assistance to foil our four heroines at every turn.

All hell breaks loose in the pub and dawn is fast approaching. When all seems lost, Toba challenges Damien to a fiddle duel to save her friends. And you won’t believe what happens next!

Incorporating animation, puppetry, songs and folk dance – not to mention a butt load of Québécois swears, including a very catchy audience participation tune at the end of Act I – Chasse-Galerie is one big fun musical ride of adventure and friendship, featuring performances from an outstanding multi-talented cast. Everyone sings and everyone plays an instrument (in Smith’s case, more than one); the excellent band is rounded out by Justin Han (drums) and Jason O’Brien (bass).

Benger’s Alex is sweet and pious; she may be a virgin, but Alex is full of fierce passion and love for her Jaune. Letwin is hilariously irreverent as Michelle; hard-drinking and a master at cursing there’s a soft gooey centre beneath that tough exterior. Power’s bespectacled Lea is the level-headed brains of the group; and when she finds herself struggling with the prospect of lost love, she gets some unique advice from Uriel about what to do about her love triangle situation. Silver-Baird’s Toba is the peacemaker of the group; not expecting to find love at The Flying Canoe, she is put in the difficult position of choosing between her dream and making it home on time to save her own soul and those of her friends.

Savage is deliciously diabolical as Damien; comic and compelling, Damien’s dead serious when it comes to this deal – and he needs these souls as much as the four women want to keep them. Azarbad is cabaret sexy and delightfully mischievous as Lucy; our storytelling host and Damien’s right-hand minion, she excels at manipulation and even gets on a bit of romancin’ of her own.

With huge shouts to the design team for this remarkable, immersive environment: Lindsay Dagger Junkin (set and props), John Leberg (scenic magic), Holly Lloyd (costumes), Melissa Joakim (lighting), Andre Stankovic (sound) and Daniel Briere (projection and puppetry).

The Devil went down to Old Montreal. A singin’, dancin’, whiskey drinkin’ helluva good time in the foot stompin’, magical Chasse-Galerie.

Chasse-Galerie continues the Young Centre; get your advance tix online or by calling the box office at 416-866-8666. it won’t be there forever though – so what are you waiting for?

Update (Nov 17): The run of Chasse-Galerie has been extended, with new shows just added:

  • Tuesday, Nov. 29 – 8:00pm
  • Wednesday, Nov. 30 – 8:00pm
  • Thursday, Dec. 1 – 7:00pm
  • Thursday, Dec. 1 – 10:30pm

Get a sneak peek in the behind-the-scenes video:

Magic, puppets, shenanigans & horror in spellbinding, diabolically funny The Harrowing of Brimstone McReedy

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Eric Woolfe & something wicked in The Harrowing of Brimstone McReedy – photo by Adrianna Prosser

There are stranger things done in the midnight sun other than cremating Sam McGee. And there are more ways to moil for gold – some with even darker consequences.

Eldritch Theatre takes us on a strange, dark and magical adventure with their production of The Harrowing of Brimstone McReedy. Created and performed by Eldritch Theatre co-founder Eric Woolfe, and directed by Dylan Trowbridge, the show opened at Red Sandcastle Theatre on Thursday night; I caught the spooky fun last night.

It is 1898 and our charming host for the evening is the affable scoundrel Brimstone McReedy, who sold his soul to the Devil in exchange for that which he most desires. Armed with dark mystical objects proffered by Old Scratch himself – bell, book and candle – McReedy joins an infamous gang of grifters. Learning of the gold rush, the gang is bound for Dawson, where they plan to mine gold from the wallets and pockets of prospectors and other fortune-seekers there.

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Brimstone & Epiphany – photo by Adrianna Prosser

Things take a turn when McReedy falls for the boss’s girl, the lovely dark-haired Epiphany Blackburn, and he cheats his way into her heart. Armed with nothing but their wits and determination, they leave the gang and finish the harsh trek to Dawson, where Epiphany goes to work as a dancing girl at Belinda Mulrooney’s Fairview Hotel and McReedy gets to swindling. And it’s all jake for a while. Until jealousy rears its ugly green head and loyalties come into question, culminating in some nail-biting, life-changing matches of wits and card playing as the tale reaches its harrowing finale.

After all, magic always comes with a price and the house always wins – especially when the Devil is dealing.

Weaving the tale with magic, puppetry and a gruesome version of the shell game, Woolfe is a deft and entertaining storyteller. As McReedy, he’s a lovable scoundrel, giving us a lesson in the art of the swindle and incorporating some friendly audience participation before and during the show.

With big shouts to the design team for their work in creating this spooky, evocative period environment: Eric Woolfe (puppets), Melanie McNeill (production design), Kaitlin Hickey (lighting), Jude Haines (sound), Joanne Boland (vocals and piano music) and dark arts guide Magic Mike Segal. And to intrepid producer/box office girl Friday Adrianna Prosser and SM Sandi Becker for keeping it all together.

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Eric Woolfe as Brimstone, with puppet Brimstone – photo by Lyon Smith

Magic, puppets, shenanigans and horror in the spellbinding, diabolically funny The Harrowing of Brimstone McReedy.

The Harrowing of Brimstone McReedy continues at Red Sandcastle Theatre until Nov 13; get your advance tickets online and have yourself a spooky Halloween good time.

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

In the meantime, check out the trailer:

Taming the Shrew like it’s 1989 in sharply witty, playfully bawdy, LGBTQ+ Bard’s Bus Tour

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Geoffrey Armour & Siobhan Richardson – photo by Dahlia Katz

Driftwood Theatre Group launched its annual Bard’s Bus Tour earlier this month, this time with a 1980s Toronto Pride take on William Shakespeare’s The Taming of the Shrew, directed by Driftwood Artistic Director D. Jeremy Smith and running this week at Toronto’s Withrow Park.

A challenging play to produce for modern-day audiences, given its dynamic of patriarchal dominance tinged with misogyny, Smith and company decided to take the opportunity to present the play from a contemporary point of view, exploring themes of identity, consent and equality.

Set in 1989, Lucentio (Fiona Sauder) and Tranio (Paolo Santalucia) travel from small-town Ontario to Toronto to experience the sights, sounds and possible romantic entanglements of Pride. Upon their arrival, they witness a family matter gone public, as Baptista (Renée Hackett) engages in a battle of words with Hortensio (Drew O’Hara) and Gremio (played by various company members, in mask), both would-be suitors to her youngest daughter Bianca (Tahirih Vejdani). Baptista refuses to let anyone marry Bianca until her eldest daughter, the wild Katharine (Siobhan Richardson) is wed first, an edict which prompts Hortensio to enlist the aid of his old friend Petruchio (Geoffrey Armour), newly arrived from Hamilton, recently furnished with a great inheritance after his father’s death and seeking a wife.

In the meantime, Lucentio has fallen for Bianca, and they* and Tranio devise a plan to woo her, whereby they switch identities so Tranio can present Lucentio as a tutor to Baptista’s household. Meanwhile, Petruchio and Hortensio have hatched a similar plan, placing Hortensio as a music teacher. The initial spark between Petruchio and Katharine becomes apparent as they begin a game of wits and dominance. They marry on the day of the Pride Parade, and he immediately takes her away to his home in Hamilton where he begins the process of taming her as the two test their boundaries. Add to this wacky mix are two Vincentio’s (Lucentio’s father): a pedant enlisted by Tranio to play the part in order to validate the dowry offer and the real Vincentio, who arrives searching for his child.

Artfully staged, with a minimalist set comprised of modular, movable Tetris pieces (designed by Smith), and utilizing commedia dell’arte masks (for Gremio, Vincentio and the various servants, each played by various members of the company), puppetry, inventive props, and outrageous and colourful 80s costuming (Melanie McNeill), Driftwood’s The Taming of the Shrew challenges our preconceived notions of this play in a battle of equals, loving who they want to love and how they want to love.

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Paolo Santalucia & Fiona Sauder – photo by Dahlia Katz

Shouts to an outstanding ensemble, with its high-energy performances and totally rad a cappella renderings of favourite 80s pop tunes (arrangements by Tom Lillington). Armour is both charming and rough as Petruchio, a ruffian with a loving disposition beneath the lusty denim and flannel exterior. Richardson is fierce and unforgiving as the neglected Katherine, whose heart longs for love beneath that scrappy attitude; she consents to soften under her husband’s direction as they set the terms for their relationship of equals. Sauder is adorably love-stricken and determined as the floppy-haired cutie pie Lucentio; and Vejdani’s Bianca is a small but feisty gal under the good little sister exterior. Hackett is a strong negotiator and drives a hard bargain as the noble, put-upon mother Baptista; and is hilarious as Petruchio’s laid-back servant Curtis. Santalucia is a delight as the sharp-witted, mercurial and flamboyant Tranio; and O’Hara gives a hilarious turn as the spurned and opportunistic Hortensio.

Taming the Shrew like it’s 1989 in Driftwood Theatre’s sharply witty, playfully bawdy, LGBTQ+ Bard’s Bus Tour 2016.

The Taming of the Shrew continues at Toronto’s Withrow Park until this Sunday, July 24 – please note the 7:30 start time. Toronto performances include the following extras:

July 20: Pre-show chat (6:45 p.m.) with Dr. Nikki Cesare Schotzko, University of Toronto

July 21: Intermission show by 80s throwback a cappella band Retrocity; post-show chat with the actors

July 22: Pre-show chat (6:45 p.m.) with Headmistress Shaharazad

Shrew then moves on to various locations across Ontario till August 14; check here for cities, dates and seat reservation info.

*In this production, the part of Lucentio has been cast to be gender fluid, identifying as neither male nor female; therefore, the pronoun “they” is used.

Toronto Fringe: Post-apocalyptic mayhem and LOLs for days in hilarious, action-packed Wasteland

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Sex T-Rex is back at Toronto Fringe again with their own special brand of physical, film-inspired scripted comedy – this time, with Wasteland, directed by Alec Toller, running at the Randolph Theatre.

The world has been turned into a desert, complete with radioactive zones, a rebar forest and a mutant-infested mall. One glimmer of hope exists, though: The King (Josef Addleman) broadcasting rock ‘n roll from a radio station in Graceland – not a myth, but a life-saving mutant repellant. Over at the Compound, where Marshall (Seann Murray) is the Boss’s right-hand man, an unassuming janitor named Ernest (Conor Bradbury) is forced to make a choice. And he chooses Graceland. With his loyal, feisty sidekick Boy (Kaitlin Morrow) at his side, Ernest travels through dangerous territory and guts for days, pursued by Marshall and his gang. Their journey includes a stopover at the mutant-infested mall, where Professor Mulworth (Julian Frid) and his secret lab may be their last hope. In order to prevail, Ernest must become the hero even he never expected.

Drawing on movie lore from the likes of Mad Max and Tank Girl, the cast does a kick-ass job with the storytelling, which includes awesome fight scenes, car chases, inventive props, awesome puppetry and a rawkin’ soundtrack. Dark comedy abounds, with some surprising poignant moments and plot twists that will keep you laughing and on the edge of your seat. Plus, the show’s program includes a free, hand-drawn map of the Wasteland world.

Post-apocalyptic mayhem and LOLs for days in hilarious, action-packed Wasteland.

Wasteland continues at the Randolph Theatre, with two more performances tonight (Fri, July 8) at 7:30 p.m. and Sat, July 9 at 12:00 p.m. For ticket info and advance tickets, check out the Fringe website.

The power of words, destiny management & three rawkin’ witches in stage adaptation of Terry Pratchett’s Wyrd Sisters

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Terry Pratchett’s Wyrd Sisters – photo by Heather Corner

An iron tea pot sits atop a small wooden stool, placed in the centre of an upside down wooden table. Jolly Elizabethan music fills the space as the audience assembles. This is the stage set at Red Sandcastle Theatre, a minimalist design about to contain a world of magic, plots and Shakespearean homage in Socratic Theatre Collective’s production of Terry Pratchett’s Wyrd Sisters, adapted by Stephen Briggs and directed by Socratic Theatre founder/A.D. Liz Bragg.

The play Terry Pratchett’s Wyrd Sisters is an adaptation of the sixth novel of Pratchett’s Discworld series; Socratic Theatre has previously produced adaptations of Terry Pratchett’s Mort and Terry Pratchett’s Monstrous Regiment. Sadly, Pratchett died on March 12 – and his work has had a profound effect on the company, so Socratic Theatre is dedicating this production of Wyrd Sisters in his memory. And if the audience’s delighted reaction is any indication, they’ve done him proud.

Scheming nobles. Travelling players. Three witches. Regicide. A secret foundling whisked away to safety. A professionally frustrated and ethically conflicted Fool. Love. This play has it all. Drawing inspiration from Shakespeare’s work, particularly the Scottish play, with shades of Hamlet, Wyrd Sisters is a good fun adventure with a great comic sensibility – and a very fine cast.

The three witches are a treat: S.R. Kriger as the wry-witted, resourceful (often outside the box) Granny Weatherwax; Amanda O’Halloran as the small of stature, but scrappy and irreverent, Nanny Ogg; and Madryn McCabe as Magrat Garlick, the bright and lovely young rookie who’s big on theory, but green on experience of both witchcraft and the world in general. The three men in the cast play multiple roles, male and female, to great effect. Daniel Cristofori is hilarious as the grasping, but ineffectual and neurotic Duke, as well as the less than evil demon WxrtHlt-jwlpklz. Basel Daoud does an excellent job juggling such varied characters as the plotting, power hungry Duchess and the dim-witted, shifty-eyed Sergeant. And Michael Lake is particularly adorable as the awkward and conflicted young Fool, torn between his duty to the usurping Duke and doing what’s right (and his love of a certain young lady).

Among all the scheming, magic and Shakespearean shenanigans, Wyrd Sisters highlights the power of words and reminds us of the importance of taking an active role in one’s destiny.

Fantastic use of mask (for the players’ play within the play) and mask-based puppetry (demon, ghost of the King), which capture the fun, imagination and wonder of this story – with shouts to the design team of Bragg, David Galvin Heppenstall, Jennifer Jakob, Kriger and O’Halloran. Shouts also to make-up artist Liz Davies and Chris Warrilow/Fantastic Creations for the props.

It’s wicked big fun playing with Shakespeare and three good witches that rawk in Socratic Theatre Collective’s production of Terry Pratchett’s Wyrd Sisters. So get yourselves out to Red Sandcastle Theatre to see this.

Wyrd Sisters runs until March 29. You can purchase tickets at the door or in advance online. You can also keep up with Socratic Theatre on Facebook and Twitter.

Department of Corrections: The previous version of this post credited the photo to Amanda Irwin/Elemental Photography. The promotional photo included in this post is by Heather Corner; this has been corrected. Amanda Irwin did the production photography.