Ann Powell and David Powell. Designed & created by Ann Powell and David Powell. Lighting design by Kevin Hutson. Photo by Dahlia Katz.
Puppetmongers Theatre takes us to medieval Russia with a combination of old Russian tales in the delightfully charming, playful Tea at the Palace. Co-created, designed and performed by Puppetmongers’ Co-Artistic Directors, brother and sister David and Ann Powell, and co-created and directed by Sharon Weisbaum, we’re invited on a journey that ranges from the Tsar’s palace to the farmhouses of his subjects as a newly ascended Prince proves his mettle as ruler, providing judgements and finding a wife. Celebrating its 30th anniversary of holiday shows, Puppetmongers presents Tea at the Palace for a short run in the Tarragon Theatre Extraspace.
When a young Prince ascends the throne, his people wonder what kind of Tsar he’ll make. He soon finds himself passing judgement on a farmer who’s unearthed a samovar in his field. Informed upon by a nosey, grouchy neighbour, the farmer is accused of believing himself to be equal to the Tsar; and the Prince soon finds they have more in common than one would think. And when the same grouchy man contests the ownership of an apple tree, which his widow neighbour says is hers, the widow’s young daughter impresses with her riddle-solving skills, resolving the dispute.
Despite the concerns and disapproval of his court, and breaking with tradition, the Prince chooses the clever young peasant woman to be his wife—and, once again, she must solve three seemingly impossible riddles to prove herself worthy. But can she manage the scheming courtiers who disapprove of the match and want to separate her from the Prince?
The Powells magically whisk us away to a world of tradition, ritual and ceremony—where even the making of tea has a set, proper procedure. Using beautiful, cleverly designed puppets and props, ranging from miniature to life-sized—and multipurpose, folding set pieces that reveal miniature pop-up environments—the storytelling is wondrous, entertaining and instructive; and the performances are playful and entertaining.
Despite the pomp, ceremony and entitlement of his upbringing, the young Prince proves himself to be a fair-minded, egalitarian ruler who judges people based on actions over social status. Audience members of all ages will delight in the beautifully crafted, imaginative and fun storytelling artistry of this tale.
Tea at the Palace continues in the Tarragon Theatre Extraspace until December 29; matinées run today (Saturday, December 28) and Sunday, December 29 at 2:30 pm; and there’s an evening performances tonight (Saturday, December 28) at 7 pm. Advance tickets available online, except for the Family Pack, which is only available by phone or in person: 416-531-1827 (Mon from 10am-5pm, Tues-Sat from 10am-7pm, Sun from 11am-1pm). It’s a very short run, so catch it while you can.
Shaquille Pottinger, Lisa Hamalainen, Jack Comerford, Joe Recinos & Morgan Johnson. Costume design by Beatriz Arevalo. Mask design by Alexandra Simpson. Puppet design by Patricia Mader. Dress rehearsal photo by Producer Rebecca Ballarin.
Animacy Theatre Collective and Arts in the Parks present Lisa Hamalainen’s interdisciplinary, land-based theatrical nature walk There is No Word for Wilderness, directed by Alexandra Simpson and running at Earl Bales Park (4169 Bathurst St.), Picnic Area #5. Mask, puppetry and music combine in this delightful, magical and thought-provoking journey of self-discovery, inner healing and wisdom gained as a young woman ventures into the forest. With the help of some unexpected guides, she reconnects with the land and finds her true heart. The inclusive and informative post-performance Anishinaabe ceremony and teaching, facilitated by Shelba Deer, adds context and depth of understanding of the piece.
When a Young Woman (Lisa Hamalainen) finds herself stranded on a rural highway, she finds an unlikely guide in a talking Hare (Shaquille Pottinger, puppet designed by Patricia Mader)! As they make their way through the forest, they encounter other animal guides along the way—a wise Owl (Joe Recinos), a sly Fox (Morgan Johnson) and a drowsy Fish (Jack Comerford)—and a walk in the woods becomes a journey of self-discovery, inner healing, and reconnection with the land, air and water.
We are led from scene to scene by stage manager Zoë Ruth Fairless (who also plays the ukulele) and accompanied by composer Anders Azzopardi on trombone, making our way in a counter-clockwise direction on a circular path as we follow the Young Woman on her journey. As you walk between scenes, you become aware of the sights, sounds and smells of the forest: the crunch of the gravel path beneath your feet, the aroma of leaves and wood, the brilliance of green trees against a blue sky—and, later, crickets chirping as the light wanes and darkness falls upon the campfire circle.
Pottinger is a delight as Hare—our jovial guide and narrator—who is ready for his close-up; his reactions to unknown human trappings like cellphones and reception are a reminder that our machines are not as vital to our lives as we think they are; and are kind of silly, when you think about it. There’s more than meets the eye to Hamalainen’s fastidious, driven, professional Young Woman. While she’s caught in the rat race of a job she despises, she’s no soulless cog in the corporate machine; her compassion and love of nature make her open to this journey and the self-awareness and wisdom it brings.
Recinos brings a graceful majesty to the wise, enigmatic Owl; his words of wisdom are like a puzzle for the Young Woman to solve. There is no word for wilderness in his language—for him, home is wherever you are, where your heart is. Johnson combines woodland animal cuteness with an edgy trickster vibe as Fox. Don’t let her adorable appearance fool you; she’s a savvy, sly one—and sees more than just a fellow creature of the forest when she looks at Hare. Comerford does double duty, with two sharply drawn contrasting characters: Young Man, the Young Woman’s self-absorbed, hyper-ambitious jerk of a co-worker; and the joyful, curious and cheeky Fish. Magically able to move about on land for a time, Fish reminds us that our discarded plastic bottles, bags and trash create horrific, dangerous conditions for the creatures of the water, not to mention the water itself.
The performance is both complimented and highlighted by the beautiful, imaginative puppet (Patricia Mader), mask (Alexandra Simpson) and costume (Beatriz Arevalo) designs—utilizing fabric, wood and recycled items. Azzopardi’s composition incorporates vocal and instrumental music to great effect; and we’re even invited to join in.
Following each performance, the audience is invited to stay seated around a campfire (back at the starting point) for Anishinaabe ceremony and teaching with Shelba Deer. Relating traditional beliefs, and spiritual and healing practices, Deer’s teaching offers a deeper understanding and context for the performance we’ve just witnessed; sharing the wisdom that—Indigenous or settler—we are all human beings walking this Earth, partaking of Mother Earth’s bounty. And each of us has a spirit and a heart—the awareness and acknowledgement of which will help us discover our true paths.
Like the lanterns we carry throughout this journey, we are all small points of light energy on the Earth. And even if you live in the city, standing on concrete, you’re still standing on the Earth—living, breathing, drinking and eating on this planet. We are not separate from the land; we are a part of it. So we’d better take good care.
There is No Word for Wilderness continues in Earl Bales Park on September 19-21, 24-26 and 28 at 6:00 p.m., with rain dates on Sept 22 and 29; admission is free. There will be an ASL interpreter present for Shelba Deer’s post-performance ceremony and teaching on Sept 26. Check out Animacy’s Facebook event for more info.
Directions: Earl Bales Park, Picnic Area #5. For travel directions (by car or TTC), scroll down on the show’s web page. Look out for the flagpole with the Canadian flag at the end—there will be Arts in the Parks canopy and banners to mark the spot.
All performances are relaxed performances (for more info on accessibility, relaxed performances and the ASL interpretation, scroll down on the show’s web page). Come dressed for cooler evening September temperatures and wear comfy walking shoes. Bug spray is also a good idea, especially along the forest trail; if you forget, show staff and volunteers have some to share.
In bed: Erin Humphry. Clockwise, from bottom left: Lindsay Wu, Elizabeth Staples, John Wamsley & Keaton Kwok. Photo by Bryn Kennedy.
Theatre Born Between takes us to a world of childhood and the creatures that live under our beds in the playful, touching Beneath the Bed, a tale of loss and trauma—and an unexpected friendship. Written by Gabriel Golin and directed by Bryn Kennedy, with music composition by Lucas Penner, music, puppetry, dress-up and everyday objects imaginatively employed combine to tell a story of joy, sadness and back again. It’s story time for all ages, running at the Scadding Court Community Centre, Room 4.
When a Child (Erin Humphry) loses her Mom (Elizabeth Staples), her room becomes her refuge as she searches for her mother in the stars out her window, her mother’s haunting lullaby never forgotten. One night, a Monster (Graham Conway) appears from under her bed. Annoyed that the Child’s tears and sadness make her unfit to eat, he attempts to make her happy; and while his efforts may initially be for selfish reasons, a bond grows between them—and he becomes her protector from the real monster in the house.
Years later, the Monster appears in a new bedroom to find a new Child (Lindsay Wu); his friend has grown up and become a mother herself. This new Child has an outgoing personality and a vivid imagination, and loves playing games of make-believe—becoming a pirate on the high seas or an astronaut exploring the stars and battling space aliens. And although the Monster doesn’t understand her games, he plays along—even though his friend, now a mother, doesn’t want him speaking to her child. Feeling that her mom is keeping her too close, the Child runs away. Despite his fear of leaving the bedroom, and the great danger posed by daylight, the Monster ventures out to find her.
Lovely work from the cast in this beautiful, moving and delightful journey. Humphry’s Child has wisdom beyond her years; pensive and observant, she finds strength and resilience despite her grief and isolation. But the trauma of her childhood makes her a fearful adult, and nurturing turns to smothering as she desperately tries to protect her child from the world. Conway is a treat as the Monster; all gruff and growl at first, he’s a softie underneath—his initial malice melting as he turns from predator to protector. Wu is adorably fierce as the second Child; forced to live largely in her imagination, she struggles for independence and growth.
Rounding out the cast are the spritely Whispers—Keaton Kwok and John Wamsley (also Staples and Wu)—who create the sights, sounds and physical environment as the story unfolds. Everyday objects become monsters, sunsets, constellations, the headlights of a car; and, from the booth, stage manager Caitlin Brenneman creates sound effects with a toy xylophone and everyday things.
A good reminder—for children of all ages—that endings aren’t always entirely happy, but we can hope that things will be better tomorrow and feel gratitude for those moments of joy and the friends who help us get there.
Beneath the Bed continues in the Scadding Court Community Centre, Room 4 with one more performance today (July 14) at 2:00; tickets available at the door only today. Seating is limited, so you may want to arrive early.
Corinne Murray, with puppet fur bunny and puppet baby. Puppet construction by Shawna Reiter & Jonathan Davis. Photo by Dahlia Katz.
Canvas Sky Theatre gets us up in the middle of the night with Sarah Joy Bennett’s hilariously candid, deeply poignant Night Feed; running in the Tarragon Theatre Extraspace. Directed by Bennett and associate director Ginette Mohr, with puppetry direction by Shawna Reiter and guest puppetry direction by Mike Petersen, everyday household objects come to life as a new mother’s self-doubt, fears and anxieties surface from her sleep-deprived mind as she breast feeds her newborn.
New Mother (Corinne Murray) is up in the middle of the night nursing her baby (puppet, operated by Murray), who struggles to latch on properly to get enough to eat and gain some weight. In her exhausted state of mind on the couch at 4 a.m., everyday objects around her living room start coming to life (courtesy of puppeteers Ginette Mohr and Sarah Joy Bennett) to taunt, tempt and tell her she’s just not up for this whole motherhood thing. She’s up every hour to feed the baby, she can’t remember when she last washed her hair, she can’t reach that glass of water on the side table without upsetting the baby—and she doesn’t know a lullaby!
Anything and everything can, and does, become a puppet here—in some cases by design or just regular objects, manipulated to move and speak. Concerns about neglected personal hygiene and appearance emerge as the Mother’s hair, breasts and even vagina speak to her. And the fur bunnies (puppets) accuse her of slacking off on the housekeeping, really sticking it to her with mentions of her mother and grandmother’s accomplishments in this regard—represented by two quilts hanging over the back of the couch, as thoughts of the mothers before her become both critical and comforting.
Scholarly books bemoan that she hasn’t gotten to them, while children’s classics preview the promise of shared readings to come. The Internet presents all manner of ridiculousness, especially on Pinterest. And surely the baby will be fine on its own while she goes for a bike ride—oh, but the sutures. Highlights include a book on breast feeding (Mohr) that cheerily chirps on about how easy and vitally important nursing your baby is, while passive aggressively damning the use of formula. And What to Expect (Mohr) gets into an all-out brawl with a bottle of Jack Daniels (Bennett) when it tries to tempt the mother to a drink. And the breast pump—best real object turned puppet ever! And did you know that, regardless of sex, we all have a vagina puppet (also, who knew she was French)? You’ll just have to go see for yourselves to see what I mean.
Lovely work from the cast as they run the gamut of new parent concerns. Murray is comically poignant as the Mother; struggling with self-doubt on a few hours of sleep a day, she’s able to brush off some fears and self-criticisms, while others land like a punch to the gut. And Mohr and Bennett are a diabolically hilarious tag team of postnatal torture as they give life to the objects around the Mother—showcasing some fine character voice chops in the process—and in some cases flanking her (in matching pj’s) to bring her inner voice to life as rookie maternal self-doubt and fears emerge.
In the end, the Mother knows she’ll falter, but she’ll do the best she can—be present, love, nurture—and the lullaby will come.
Night Feed continues in the Tarragon Theatre Extraspace until July 14; check the show page for exact dates/times and advance tickets. This show has been selling out, including last night’s performance, so advance booking is a must.
Clockwise, from top left: Eric Woolfe, Lisa Norton & Mairi Babb. Set & costume design by Melanie McNeill, assisted by Emily Butters. Lighting design by Michael Brunet. Photo by producer Adrianna Prosser.
Eldritch Theatre returns with more outrageously fun, horrific good times with Space Opera Zero, written by Eric Woolfe and directed by Dylan Trowbridge. Based on Thomas Middleton’s Jacobean tragedy The Changeling, Space Opera Zero! is a space horror erotic macabredy that combines poetic language, a B-movie/pulp fiction sensibility, feats of prestidigitation, 30s slang, mask and puppetry, operatic tragedy and a lesbian/alien love triangle. Space Opera Zero! opened on Friday at Red Sandcastle Theatre; I caught it last night, in an enthusiastic, sold out house.
Our story begins in 1930s America, where intrepid lesbian pilot Emily Trueheart (Lisa Norton) and mad scientist Hjalmar Pomeranki (Eric Woolfe) set off—in a space ship Pomeranki designed—on a mission where no man has gone before. Forced off course, they land on a strange faraway planet, where Emily rescues Princess Jenora (Mairi Babb) from certain death in the jaws of a vicious alien creature—and the two fall instantly in love.
Things are peachy keen until the Princess’s father, the Emperor (puppet, Woolfe), orders her to marry a fearsome tentacled alien (Norton) for the sake and safety of their planet. And while the Princess makes an unsavoury deal with the Emperor’s servant Doggo the Mutant (Woolfe) to get out of the marriage so she can be with Emily, Pomeranki is hatching an apocalyptic plan of his own back at the space ship. Caught in a web of lies and deceit, things go from bad to worse for the Princess; desperate to have things go her way, she enlists the aid of her maid/sex robot Ro-Berta (puppet, Woolfe) to distract Emily.
Will true love find a way in this faraway universe—and will there be any universe left to make sweet nookie in?
Big-time LOLs, twists and turns, and surprises from this engaging, energetic, uber-talented cast. Norton’s Emily Trueheart is the definition of moxie, combined with old-fashioned romantic; taking names and no guff (especially from men), Emily is a pioneer and explorer with the guts of a warrior and the heart of a poet. Woolfe does a stand-out job, juggling multiple hilarious and poignant characters, utilizing mask and puppetry. Notably the verbose mad scientist Hjalmar Pomeranki, who seems a nice enough fellow but has a dark purpose in mind; the reviled, put-upon servant Doggo the Mutant; and the loyal, sex-curious robot Ro-Berta. Babb gives the lovely Princess Jenora a slinky, femme fatale edge; driven to extreme measures to achieve her heart’s—and loins’—desire, the Princess risks painting herself into a corner.
With shouts to the outstanding interstellar design team: Melanie McNeill, assisted by Emily Butters (set and costumes), Michael Brunet (lighting) and Christopher Stanton (sound). And to stage manager Sandi Becker, for keeping it all running smoothly and showing us how to navigate our way through the set to access the washroom.
Space Opera Zero! continues at Red Sandcastle Theatre until December 2; advance tickets available online. It’s an intimate space with limited seating, and a super popular company getting great buzz, so advance booking strongly recommended.
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.
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.
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.
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.