Ergo Pink Fest: Character is fate & sisters start doing it for themselves in The Women of Casterbridge

Ergo Arts Theatre opened the Ergo Pink Fest at the Small World Music Centre at Artscape Youngplace last night. A three-day festival of new plays by female and non-binary identified playwrights, script criteria includes: “at least two women/non-binary people, who both have names; 2. These two people talk to each other; 3. They talk about something other than a man.” So these are Bechdel-tested works!

The festival opened with Claire Ross Dunn’s The Women of Casterbridge, a feminist retelling of Thomas Hardy’s The Mayor of Casterbridge, directed by Diana Leblanc.

Sold in the market to a kind sailor (David Storch), by her drunken brute of a husband Michael Henchard (Patrick Galligan)—who blames them for his lack of social and financial opportunity and advancement—Susan (Catherine Fitch) and her four-year-old daughter Elizabeth Jane (Laura Schutt) leave England to live with the sailor, Richard Newson, in Newfoundland. Years later, after Newson is declared dead in a ship wreck and they’re evicted from their sailor’s lodgings, Susan (who is now quite ill) and Elizabeth Jane have no choice but to return to England in search of Henchard, in hopes that he will lend them some assistance and secure their survival.

In the intervening years, Henchard has quit drinking and sorted himself out, eventually owning a successful grain business and becoming the Mayor of Casterbridge. A miraculously changed man, when Susan finds him, he asks her forgiveness and plans to make things right. Elizabeth Jane is unaware of the circumstances that sent her and her mother away, so Henchard hatches a plan to woo Susan anew and marry her; in doing so, he must break off his understanding with his lover Lucetta (Kat Gauthier). He also has big plans for innovation with his business, convincing young Scot Donald Farfrae (Sergio Di Zio) to stay in Casterbridge and work with him. Farfrae and Elizabeth Jane, who is an unusually independent and strong-willed young woman for her time, are drawn to each other.

When Susan dies, Henchard decides to renew his relationship with Lucetta, newly returned to Casterbridge a wealthy heiress. She takes Elizabeth Jane, a like-minded independent woman, on as her companion; she also catches the eye of Farfrae, who favours her over Elizabeth Jane. Henchard’s inner demons of greed and pride rear their ugly heads; jealous of Farfrae’s popularity and charm, and of Lucetta’s interest in him, he fires him from the company and returns to the bottle, setting in motion a self-fulfilling prophecy that rolls out over the subsequent years. Turning his anger upon Lucetta, Henchard has letters from her that reveal their prior relationship, spelling her ruin if released. A group of townspeople (Marium Carvell, Stuart Clow and David Storch) catch wind of their earlier affair and make a public spectacle. Meanwhile, Elizabeth Jane, hungry for knowledge and “enlargement” herself, works hard and overcomes the heartache of losing Farfrae to Lucetta, who’d taken her on as a companion.

Excellent work from the entire—and mostly multitasking—cast. Chock full of melodramatic (and comedic) twists and turns, startling revelations and heartfelt confessions, Susan’s motto “character is fate” plays out for all.

Ergo Pink Fest continues in the Small World Music Centre this weekend, closing tomorrow (March 25). Coming up next at the Fest:

March 24 @ 1:30 pm: Being Helen by Laurie Fyffe, directed by Andrea Donaldson

March 24 @ 4:00 pm: The Sister Op by Shelley M. Hobbs, directed by Susan A. Lock

March 24 @ 8:00 pm: Witts: Ballad of the Queer Cowboys by Calla Wright, directed by Anna Pappas

March 25 @ 1:30 pm: The Next Mary by Mairy Beam, directed by Rebecca Picherack

March 25 @ 4:00 pm: Sol by Araceli Ferrara, directed by Anita La Selva

March 25 @ 6:45 pm: Manners by Nastasia Pappas-Kemps, directed by Sue Miner

The Fest also includes two free panels:

March 25, from 12:00 – 1:00 pm: Bridging the Gap: The Value of Mentorship and Relationships between Artists (Room 106). Mediator: Thalia Gonzalez Kane. Panelists: Tamara Almeida, Angela Besharah, Martha Burns, Erin Carter, Marcia Johnson, Heath V. Salazar.

March 25, from 5:00 – 6:30 pm: Colour. Culture. Curtain. Cross-racial Casting on Contemporary Stages (Room 106). Mediator: Nicole Stamp. Panelists: Dian Marie Bridge, Courtney Ch’ng Lancaster, Tanisha Taitt, Paula Wing.

Check the full line-up details and book advance tickets. It’s an intimate venue, and last night was sold out and then some, so advance booking strongly recommended.

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Rich tapestry of image, sound & dance tells a powerful story without words in remarkable Century Song

Neema Bickersteth in Century Song—photos by John Lauener

 

Nightwood Theatre partners with Volcano, Richard Jordan Productions UK and Moveable Beast Collective to present Century Song, opening last night in the Guloien Theatre at Crow’s Theatre’s home at Streetcar Crowsnest.

Created by soprano/performer Neema Bickersteth, choreographer Kate Alton and director Ross Manson, the multimedia, multidisciplinary Century Song tells the stories of women throughout the past hundred years, incorporating the music of composers Sergei Rachmaninoff, Olivier Messiaen, John Cage, Georges Aperghis and Toronto’s Reza Jacobs; and including accompaniment by Gregory Oh (piano) and Ben Grossman (percussion, computer). The show also includes stunning projected images—black and white, and colour portraits, visual art pieces, and evocative landscapes, cityscapes and environments—projection design by Torge Møller and Momme Hinrichs from Germany’s fettFilm; and featuring the works of numerous photographers and artists.

This is a show unlike any I’ve ever seen—and I’ve seen a lot of theatre—so how can I describe to you this beautifully moving, powerful and innovative piece of storytelling that is really best experienced on an emotional and visceral level, as opposed to a cerebral level (though it does leave you with plenty to think about).

Opening in 1915 with Rachmaninoff’s Vocalise, we see a woman corseted and engaged in repetitive action, evoking housework and an agricultural setting. Moving into the 1920s/1930s, she is now clad in a sleek golden gown, placed in a magical forest—the setting, sound and imagery changing as time shifts into the 1930s and 1940s, with increasingly intense and horrific renderings of social and economic upheaval, and the devastation of war.

Century_Song_7With projections covering both the back wall and floor, the zooming in on images provides the illusion of movement. This technical aspect takes on a playful effect as we journey from the 1950s through 1978, where we see multiple Bickersteths as a variety of characters in various living room settings. And it’s particularly cool when she returns to the stage, joining her projected, life-size selves.

The landscape gets intense again, as we’re whisked up a skyscraper and onto the roof where we see a vast, endless cityscape before us. It’s dark and stormy. Now dressed in a business skirt suit, she is caught up in a frenzy of chaos and speed—overwhelmed by the pace and bleakness of it all.

Century_Song_6Returning to a quiet moment, Bickersteth closes with Vocalise for Neema by Reza Jacobs, a piece commissioned specifically for Century Song; with a haunting, yet soothing, lullaby quality that shifts into bluesy and playful tones, it promises to bring some to tears as we return to the safe confines of the theatre space in the present time.

Bickersteth is a wonder up there, bringing a powerhouse performance that combines operatic vocals and dance. Taut and precise, flexible and present, her work is masterfully fluid and evocative as she travels through time and space—presenting the lives of these women, with all their joys, fears, challenges, successes and expectations as they play out their roles.

With shouts to the design team: Camilla Koo (set), Rebecca Picherack (lighting) and Charlotte Dean (costumes).

A rich tapestry of image, sound and dance tells a powerful story without words in remarkable Century Song.

Century Song continues at Streetcar Crowsnest until April 29; advance tickets available online. Get out to see it—this is theatre like you’ve never seen.

Department of Corrections: The original post contained a typo in director Ross Manson’s surname; that has since been corrected.

Two women’s memoirs of wartime resilience & survival in powerful, poetic Double Bill: Licking Knives & Man to Man

Headstrong Collective opened its Double Bill of one-person plays – Licking Knives and Man to Man – at Theatre Passe Muraille (TPM) Backspace this week. Using minimalist sets and eye-catching, at times startling, images projected on the upstage wall, these two well-matched plays are portraits of women forced into life-changing, life and death circumstances during WWII where each must live like a chameleon in order to survive.

“Ukrainian people are convinced that everything will turn out shit because it always has. And they are always right.” – Licking Knives

Licking Knives
Melanie Hrymak in Licking Knives – photo by Nathan Kelly

Licking Knives – written and performed by Melanie Hrymak. Amidst the metropolitan hustle and bustle of post-war Paris (the tone set with projected images of Paris and the sounds of the city), a well-dressed, elegant woman silently enters, finds a table on a café patio, and removes her hat, gloves and coat. And tells us her story. Gradually, her accent changes as she takes us into the past. Once upon a time, she was a Ukrainian farm girl, one of six children who worked hard to help the family plant its annual wheat crop – wheat that was now being commandeered by the army. A small misfit in the family, she dreamed of going elsewhere, but never could have expected what would happen next. Torn from her home to work in a Nazi labour camp, she goes from housemaid to tunnel worker, the tunnel ultimately saving her when the Allies take the camp. Her old life gone, she travels to Paris with her newfound freedom, where her life becomes fluid and changeable. Ukrainian, Polish, German, French. Becoming someone else. Changing herself to forget.

Hrymak’s performance is frank, dark and wryly funny. In this woman’s shoes, she pulls no punches about the details of the experience and what she must do to survive; the tone is hard and vulnerable at the same time, refined and coarse, carefree and pensive. In the end, this woman has most effectively erased the girl she once was – but it’s clear that that Ukrainian farm girl still lives underneath.

“I, my own widow, my late lamented husband, had to be man enough to wear the fucking trousers.” – Man to Man

Man to Man
Lisa Karen Cox in Man to Man – photo by Nathan Kelly

Man to Man – written by Manfred Karge, translated by Anthony Vivis, and directed by Kelli Fox, assisted by Leslie McBay, and performed by Lisa Karen Cox. Set in Germany during the Nazi’s rise to power, when her husband’s poor health and subsequent death threaten her very survival, Ella Gericke becomes her dead husband Max and takes over his job as a crane operator. But her new identity eventually becomes problematic as the Nazis want soldiers to grow their army – and Ella/Max must come up with a new plan to stay alive. The language is both romantic and profane as the storytelling shifts back and forth between fanciful fairytale and harsh reality.

Cox gives a strong, grounded performance; and she does a remarkable job of shifting between characters, playing multiple roles – male and female, and female to male – coquettish, demure, bawdy, aggressive. As Ella morphing into Max, Cox is ballsy and go-to. She relishes her successful transformation in learning and executing Max’s job, then dreads interactions with co-workers, who want to drink, gamble and womanize after hours – afraid of being found out, but enjoying this new experience of the world. Switching back and forth between masculine and feminine versions of herself, Ella intends on becoming a woman again, but the timing never seems right and she always finds herself returning to her Max persona. In becoming her own prince come to save her, she will never be the same person again.

Along with the shape-shifting survival qualities of the women in these two plays, like Edith Piaf in her famous rendition of “Non, Je Ne Regrette Rien,” these women regret nothing.

With shouts to the design team: Karyn McCallum (set and projection for both plays, and also costume for Man to Man), Rebecca Picherack (lighting), Tessa Springate (sound for Licking Knives), and Matthew Lawrence and Tom Perry (sound for Man to Man).

Two women’s memoirs of wartime resilience and survival in powerful, poetic Headstrong Collective Double Bill of Licking Knives and Man to Man.

Headstong Collective’s Double Bill of Licking Knives and Man to Man continues at the TPM Backspace until Dec 20. Check here for dates/times and advance tickets; you can also reserve by phone at 416-504-7529 or get tickets in person at Theatre Passe Muraille (16 Ryerson Ave).