Standing: David Huband & Amber Mackereth. Seated: Margaret Lamarre.
Green Garden Equity Artist Collective gives us a disturbing tale of family secrets and dark suspicions in Deborah Ann Frankel’s eerie family drama Gripless; directed by Frankel and on now for a short run at Red Sandcastle Theatre.
On a stormy night in a small town, brother Ben (David Huband) and sister April (Amber Mackereth) bring their mother Elaine (Margaret Lamarre) home from a birthday celebration dinner in honour of their deceased father Daniel. Uncomfortable and anxious to leave, intimidating younger sister April appears to be the alpha to her more easy going older brother. But try as they might to leave their family home, something Elaine says keeps drawing them away from the door and back into the living room.
As the action unfolds, we learn that Elaine remarried about a year after Daniel’s death; an abusive brute of a man named Tim, who recently had a stroke. We get the sense that there are some uncomfortable unsaid truths in the closet of this family’s history; and memories shift from nostalgic reverie and childhood shenanigans to disturbing discoveries and suspicions—hinting at a troubling and violent dynamic.
Compelling work from the cast in this unsettling, spooky story of family dysfunction and conflicting perspectives. Lamarre’s Elaine is damaged, adrift and also manipulative; poignant yet unsettling, Elaine’s selective memory targets only the happy moments and she seems oddly disconnected from what’s happening right in front of her. As April, Mackereth’s tough-talking, bully exterior masks a deeply hurt, vulnerable child; unforgiving with her mother, April has tender feelings for her big brother, the only one who’s ever been on her side. Huband’s Ben is the perfect foil for Mackereth’s April; wry-witted, quiet and introspective, Ben is clearly the peacemaker in the family—but even his easy-going demeanour gives way to moments of haunted reflection.
Writer/director Frankel, who folks will recognize as Red Sandcastle’s intrepid SM, will be taking over as General Manager when AD Rosemary Doyle heads to Kingston in August as the new AD of Theatre Kingston; multitasking in this production, she’s also juggling box office and SM duty in booth—and created one heck of a dark, atmospheric set and soundtrack.
Gripless has two more performances at Red Sandcastle Theatre: tonight (July 22) and tomorrow (July 23) at 8 p.m.; book tickets in advance at firstname.lastname@example.org or pay cash at the door.
Clockwise, from top left: Jeanette Dagger, Rosemary Doyle & Alexzander McLarry. Photo by Deborah Ann Frankel.
You can’t go home again, but maybe you can meet where you are. Rare Day Projects presents Carol Libman’s drama about lost dreams and family reunion, A Very Different Place, directed by Robin Haggerty and opening last night at Red Sandcastle Theatre. This world premiere began as a short play in Alumnae Theatre’s New Ideas Festival, later emerging at Big Ideas and Next Stage readings before reaching its current form at Red Sandcastle.
Teri (Rosemary Doyle) left home almost 20 years ago to pursue a career as a jazz singer with a talented man she loved—and that’s not all she left behind. Her mother Marge (Jeanette Dagger) was left to raise her son Mike (Alexzander McLarry). After a chance meeting in a Calgary hospital, where Teri now works as a nurse, Mike hatches a plan for a family reunion between his mother and grandmother at their home in Toronto—a plan that gets fast-tracked when Marge falls and breaks her hip. He needs to get back to work on an oil rig out west in a few days, and Marge—despite protestations to the contrary—needs assistance at home while she recovers and gets physiotherapy. Enter Teri, and the mother/daughter battle begins!
Old wounds, misunderstandings, resentments and suspicions emerge as Teri and Marge struggle through past and current conflicts—and try to make peace for Mike’s sake. Mike finds himself in the middle of the fray, playing peacemaker when all he wanted was to get his family back together. And Teri’s desperately trying to stay sober through the stress of this homecoming; attending AA meetings, where she addresses us as fellow Friends of Bill.
Nicely staged, with a turbulent musical prologue and snippets of classical piano favourites featured throughout (expertly played by Dagger) and a touching mother/daughter duet on “Summertime” (with Doyle shining on the vocals), A Very Different Place is bookended with music and moments of Teri’s AA sharing.
Lovely work from the cast in this touching, often sharply funny, three-hander—featuring some especially moving two-hander scenes between mother and daughter, and mother and son. Dagger’s Marge is a tough but amiable old gal with a decided stubborn, independent streak and an unbreakable determination to do what’s best, even if it costs her. Doyle’s Teri is a troubled adult child struggling to reconcile past and future choices, wobbling on the edge of petulant teen in the face of family conflict. Equally firm in her pursuit of independence—she comes by it honestly—like Marge, who once dreamed of being a concert pianist, Teri feels the sting of lost music career dreams and the necessity of setting herself on a new path in order to survive. McLarry does a great job as the glue trying to hold this family together as Mike navigates his own internal conflicts; like Marge and Teri, his life took an unexpected turn when he was forced to go west to find work. Setting up this family reunion as much for himself as for his grandmother and mother, Mike finds himself playing adult/referee when, deep down, he wants to feel a kid’s experience of love and family.
With shouts to SM/Technical Director Deborah Ann Frankel for juggling multiple tasks in the booth.
A Very Different Place continues at Red Sandcastle until May 13, with evening performances at 8 pm May 8 to 12; and matinees at 2 pm on May 10, 12 and 13. Tickets available at the door, by calling the Box Office at 416-845-9411 or going online.
Naomi Peltz, Katherine Cappallacci, Siena Dolinski & Seira Saeki. Photo by Bruce Peters.
Alumnae Theatre Company closes its 100th anniversary season—with heart, moxie and rip roaring good fun— with Queen Marie, a musical by Shirley Barrie, directed by Rosemary Doyle, with music direction by Paul Comeau and choreography by Adam Martino.
Queen Marie is a biographical musical about Canadian-born 1930s Hollywood star actress/comedienne Marie Dressler. Director Doyle takes us to the vaudeville stage, complete with proscenium arch, a live band on one side and stall seating on the other. Using minimal set pieces, projected images up centre present show posters and images of various locations as we travel through Dressler’s storied life and career.
Born Leila Koerber in Cobourg, Ontario, we witness Dressler being bitten by the acting bug at the age of five (Tess Keery), performing in tableaux realized by her mother (Catherine Ratusny, who also plays Dressler in her 40s). At 14, she lies about her age (Gabriella Kosmidis), saying she’s 18, and gets a job with the Nevada Travelling Stock Company and changes her name to Marie Dressler; launching her career and landing in the U.S.
From tableaux, to theatre, to vaudeville to the silver screen, Dressler’s career is a rollercoaster ride of ups and downs as she weathers the highs and lows of the business, embracing her ‘big girl’ brand with self-deprecation and good humour—and giving her all, and then some, to any part put upon her.
Shifting from theatre to movies, Dressler gets a break, working with fellow Canadian Mack Sennet (Adam Bonney); she goes on to work at MGM with Irving Thalberg (Conor Ling) and Louis B. Mayer (Rick Jones). Performing with the likes of Charlie Chaplin, Greta Garbo, Lionel Barrymore and Wallace Beery, Dressler packs movie houses with her comedic antics, and poignant, gutsy dramatic performances—receiving a Best Actress Oscar at the age of 60 (Leslie Rennie) for her performance in Min and Bill in 1930, and a nomination for Emma in 1932. A top box office draw in America at the time, she becomes the first female actor to appear on the cover of Time Magazine.
Embracing romance along the way, she meets and beings an affair with the charming Jim Dalton (Rick Jones), a married man with a wife in Boston who is smitten with Dressler, and woos her with gentlemanly manners and oysters. While happy to live the unorthodox life of an actor, Dressler longs for the stability and respectability of marriage, and she gets her wish; they later divorce after a series of unpleasant revelations regarding her shrinking bank account. Well into middle age, Dressler becomes smitten with Claire (Nina Tischhauser), a young nurse turned actress who she meets at an Oscar party. The two move in together and set up a cozy domestic and professional partnership, with Dressler acting as Claire’s acting mentor; but the relationship takes Claire away from her own dreams and aspirations—and Claire is faced with a hard decision.
Betrayed and cheated throughout her life—both personally and professionally—it is noteworthy that Dressler finds her primary source of support with her close network of women: her friend, astrologer Nella Webb (Siena Dolinski and Nance Gibson, playing Nella at different ages); her no-nonsense, fastidious maid/assistant Mamie Steele (Fallon Bowman and Indira Layne, playing Mamie at different ages); feisty cub reporter/fan turned screenwriter/Hollywood casting advocate Frances (Katherine Cappellacci); and her companion in later life, the tender, loyal caregiver Claire (Nina Tischhauser, who also plays Dressler in her 20s).
It’s an ambitious production, imaginatively staged with a cast of 25 enthusiastic multitasking actors that includes 21 women, 10 of whom play Marie at various ages and stages of her hard-working, determined, never dull life. Paula Wilkie plays Dressler in the final scenes; despite a serious cancer diagnosis, Dressler eschews her new role as bed-ridden patient, opting to work on three MGM films in six months before dying at the age of 65. Shouts to all the Marie Dresslers (not previously mentioned: Michele Dodick, Katrina Koenig, Stella Kulagowski & Naomi Peltz) for their energy and panache! Other stand-outs include Ling’s snobbish Brit actor Dan Daley and hilarious turn as a petulant Hollywood film director; Jessica Bowmer’s adorably precocious Boy, who hawks newspapers, peanuts and oysters, and gets into scrapes with his competition; Tischhauser as Dressler’s supportive but conflicted lover Claire; and Rick Jones does a mean tap dance bit.
She’s the Queen! The life, love and rollercoaster career of the irrepressible star Marie Dressler in the delightful, entertaining Queen Marie.
Queen Marie continues on the Alumnae Theatre Mainstage until April 28. Get advance tickets online or by calling the box office: 416-364-4170, ext. 1 (cash only at the box office). Performances run Wednesday – Saturday at 8 pm, with PWYC matinees on Sunday at 2:00 pm.
The run includes a final Post-Show Talkback on Sunday April 22. Check out the fun trailer:
Just before I sat down to write this review, I read in an Alumnae Theatre Twitter post that playwright Shirley Barrie had passed away; I’ve since learned that she’d been living with cancer and died on Sunday. I’m not sure if she was able to see this current production of Queen Marie, but Doyle, cast and crew did her proud. Thoughts go out to Shirley’s loved ones.
Amelia Welcher as RaPUNzel (top) and Kristen Foote as Bunny (bottom)—photo by Burke Campbell
Red Sandcastle Theatre’s Panto Players are back at it again with more pantomime shenanigans in RaPUNzel, written by Jane A. Shields and Rosemary Doyle, and directed by Jackie English. RaPUNzel marks the company’s 7th annual holiday panto.
This time, the Panto Players take us to Italy in this delightful mashup of beloved fairy tales, pop music and musical theatre tunes as they deliver familiar stories and characters with some goofy—at times surprising—twists. A very pregnant Twankey’s (Chris Gibbs) cravings coax her husband (Farid Yazdani) to pilfer neighbouring ogre Monsanto’s (Taran Beaty) garden for lettuce. His mission becomes compromised and he’s caught in the act, forcing the expecting couple to make a terrible choice. Their thievery comes at a price: they must hand their baby over to the ogre!
Sixteen years later, and having held out on her end of the deal and lost her husband, the Widow Twankey gives in and the ogre gets her daughter RaPUNzel (Amelia Welcher), and locks her in an impenetrable, magically protected tower. Luckily, RaPUNzel’s nimble-footed bff hare friend Bunny (Kristen Foote) is able to get in and out of the tower, and provide our heroine with some company as they try to figure out how to get her out of there. Meanwhile, RaPUNzel’s hair is getting super long—and we wonder if the ogre is as naughty as he wants everyone to believe; after all, his faithful sidekick is a Chicken (Sebastian Marziali). And is Twankey as nice as she appears?
Enter the handsome, though somewhat dim, Prince (Yazdani). Will he be able to free RaPUNzel from her tower prison? To add to the fun, director English returns as our favourite sassy pink cat, who first arrives on sabbatical, but comes on board to assist as only this cat can. And co-writer Doyle appears as the set-changing, noise-shushing Nonna,* a sweet old granny who suffers no fools.
It’s all very wacky and pun-filled—and we’re all invited to join in the fun. Gibbs gives a diabolically silly turn as the vain and manipulative Twankey; and Yazdani does an awesome Don Corleone impression as her husband, as well as a comedic, scene-stealing turn as the dim-witted yet determined Prince. Beaty is hilariously conflicted as the ogre Monsanto; holding RaPUNzel captive for “reasons,” the ogre’s love and care of his garden makes you wonder how bad to the bone he really is—and he brings some kick-ass guitar and vocals to that George Thorogood classic in the process.
Welcher is adorably precocious as the feisty punster RaPUNzel; and impresses with great vocal chops on a Pink power ballad. Foote and Marziali give hilarious turns in multiple roles, starting with a pair of mobsters and a couple of dancing lettuce. Foote is hysterical and educational as RaPUNzel’s bff hare pal Bunny, schooling us on the differences between the hare and the rabbit. And Marziali brings cute and wacky fun as Monsanto’s right-hand man Chicken, providing comic observations and cheeky advice.
We’re invited—and encouraged—to cheer the heroes and boo the villain, and sing and groove along with the pop tunes, rap and musical theatre songs. And a few lucky young audience members will have a chance to get in on the action.
With big shouts to stage manager Deborah Ann Frankel, who’s been with this wild and wacky ride from the beginning; running all the lighting and sound cues, and shepherding the cast.
Pun and games for kids of all ages, with hilarious panto good times, in RaPUNzel.
RaPUNzel continues at Red Sandcastle until January 7, with evening performances at 7pm on December 29 and 30, and January 2-6; and matinees at 3pm on December 28 and 30, and January 3, 6 and 7. Get your advance tickets online (see the date-specific ticket links on the show page) or by calling 416-845-9411.
*As of December 28, Nonna will be played by Panto Players veteran Brenda Somers.
The Red Lacquered Box by Burke Campbell, directed by Lynn Weintraub. In this one-woman period drama, secretary Madame Gilles (Aleksandra Maslennikova) relates what she knows about the events leading up to the scandalous tragedy involving her employer Madame Tullée. Maslennikova’s Mme Gilles is a fastidious, bright-eyed charmer; a fine performance as she shifts between characters, including the dramatic, effervescent Mme Tullée and her suave, sophisticated lover Derek. What is the significance of that red lacquered box?
Parallax by Michelle Glennie, directed by Ara Glenn-Johanson. Brave new worlds collide in this hilarious, sharp tale of two pairs of friends/colleagues boldly going. Physicist/surgeon Marie Soleil (Melanie Leon) and Expos baseball star Rock (Duncan Rowe) have been selected to train as astronauts for a one-way trip to Mars; part of their mission will be to help populate the new Earth colony. Meanwhile, back in the 1660s, Louise (Wendy Fox) and Laura (Taylor Shouldice) are Filles du Roi, setting off aboard a ship to New France, to help populate the new French colony. What happens when these two pairs meet during an event in the space/time continuum has surprising results.
Y by Rosemary Doyle, directed by Sandra Cardinal. When Lyona (Sandi Globerman) invites Fyona (Alison Parovel), the daughter of close family friends who moved to England, for a visit, her sons George (Aury Barnett) and Henry (Taylor Bogaert) wonder what’s up. Family secrets emerge in a series of flashbacks, including Lyona’s husband Arthur (Barnett), and family friends Thomas (Bogaert) and Helen (Parovel). Actions reveal priorities in this intimate, at times funny, portrait of family and friendship dynamics.
Professionally Ethnic by Bobby Del Rio, directed by Rouvan Silogix. A sharply funny and insightful look at perceptions of diversity and inclusion in Canadian theatre. Young South Asian Canadian actor William (Ronak Singh) finds himself torn between landing a starring role with renowned white artistic director Gerrard (Rob Candy) and his conscience when the job requires that he become a stereotypical multicultural poster boy for the theatre company’s massive rebranding campaign. With a little help from his friends—best friend Kyle (Simon Bennett), who is white, and girlfriend Tracey (Chantel McDonald), a black equity PhD student—he’s reminded of who he really is. LOL problem-solving shenanigans ensue. Really nice work all around from the cast; especially funny is the nightmare presentation scene, where Gerrard and Tracey present their perceptions and findings of William’s situation.
The Week Two program also includes a reading on Mar 18 at noon: Who You Callin Black, Eh? by Rita Shelton Deverell, directed by Donald Molnar.
Attraction, secrets and brave new worlds in the New Ideas eclectic, insightful Week Two program.
The NIF Week Two program continues until Mar 19 and the festival continues to Mar 26; evening performances at 8p.m. and matinées at 2:30p.m., including talkbacks after the readings and the Saturday matinées. It’s an intimate space and a popular fest, so advance booking online or early arrival (box office opens one hour before show time—cash only) are strongly recommended.
Call by Rosemary Doyle, directed by Rebecca Ostroff. A hilarious look at the never-ending hum of talking without communicating, set in a busy office environment where chatterbox Millennial receptionist Sandra (Jennifer-Beth Hanchar) is constantly in conversation with a friend in between fielding business calls. Frazzled HR Manager Laura (Shalyn McFaul) is unplugged on a meditation retreat, struggling to maintain silence and stay off electronic devices. Meanwhile, her skeezy colleague Mark (Andrew Batten, who also wrote a play, included in this week’s program) is covering for her at work, wreaking havoc in her absence with a laissez faire attitude and inappropriate remarks, including a hysterical comedy of errors over some texted photos. In a digital world, with so many devices to connect us, how connected are we really?
Or Not to Be by Andrew Batten, directed by Julia Haist. A heartfelt and genuine, at times funny, look at the Big Question. Thirty-two-year-old actor Ben (Arun Varma) contemplates his life in the big picture as he prepares to play Hamlet in a production directed by his best friend Sebastian (Jason Pilgrim). Putting on a brave face for the world, you’d never know he had a physical and emotional battle raging inside him; and he keeps much of this even from his loving and supportive wife Sarah (Jada Rifkin). Ben finds he must make some choices, no matter how much it hurts the ones he loves. Lovely work from the cast in this thoughtful examination of the meaning of life and death.
Teach Her My Name by Michael Kras, directed by Paige Foskett. A touching portrait of young couple Beth (Kate Schroder) and Andrew (Steven Pereira), new parents whose lives are changed forever when Beth, who lives with mental illness, assaults a woman at a bar. Now only able to see her baby during weekly visits, Beth is desperate to there for her daughter and worried she’s losing her husband. Andrew is doing his best, but is at his wit’s end working long hours and trying to be a father on his own, with the help of their parents. It’s not what they had in mind when they learned they were going to be parents; and Andrew can’t make Beth stay on her meds. How much can love take? A beautiful and intimate piece, with quiet moments full of repressed longing and disappointment.
D Cup by Alicia Payne, directed by Eilish Waller. There’s more than meets the eye when it comes to the women we meet at the mall lingerie store. When Peaches (Barbara Salsberg) leaves her elderly mother Mama (Margaret Sellers) with store clerk Lacey (Claudia Yang) to try on bras at the store while she goes to the washroom, Lacey realizes Peaches has been gone a long time. The highly discerning Candi (Kim Sprenger), a store regular, arrives and is put out that her favourite clerk called in sick. She is soon delighted by Mama, who has a knack for selecting the perfect bras for Candi. Friendships and revelations, and the deep connection between mothers and daughters, emerge in this charming dramedy.
Connection, reflection and living with illness in the thoughtful, funny New Ideas Week One program.
The Week One program also includes a reading on Saturday, March 11 at noon: Riverkeeper by Katherine Koller, directed by Rebecca Grace.
The NIF Week One program continues until March 12 and the festival continues to March 26; evening performances are at 8 p.m. and matinées are at 2:30 p.m., including talkbacks after the readings (noon on Saturdays) and the Saturday matinées. It’s an intimate space and a popular fest, so advance booking strongly recommended: get your advance tix online or arrive early at the box office (opens an hour before show time; cash only).
Red Sandcastle Theatre A.D. Rosemary Doyle has teamed up with Jennifer Watson and Dorian Hart to launch The Wilde Festival, which opened with its inaugural production of Neil Titley’s one-man show Introducing Mr. Wilde, or Work is the Curse of the Drinking Class at Red Sandcastle’s storefront space at Queen St. East and Logan, Toronto last week.
Hart sets the tone for Titley’s intimate performance with a pre-show selection of beautiful nocturnes by Irish composer/pianist John Field, who invented the Nocturne. Field’s work served as an inspiration for Frederic Chopin’s compositions—and Chopin was a favourite of Wilde’s.
Introducing Mr. Wilde is performed in three parts. When Titley first appears onstage, it is as himself—in affable, accessible lecturer mode. Engaging and entertaining, he offers up a brief history of the show—which has been performed all over the world and to great acclaim at the Edinburgh Festival—and a quick timeline overview of Wilde’s life. In particular, we track Wilde’s 1882 lecture tour to Toronto; and Titley found the only venue still standing, not demolished or destroyed by fire, is Niagara Falls. And Wilde was apparently unimpressed by the great wonder of nature. Perhaps he only saw the American side.
Then, something truly remarkable happens. Titley transports us to 1898, to a Paris café where he shifts from himself as 2017 lecturer to Oscar Wilde, a year after he was released from his two-year prison sentence. The transformation is remarkable, both physically and vocally. As Wilde, he regales us with thoughts and anecdotes—with razor sharp wit, charm, unapologetic irreverence, and disdain for the mediocre and disingenuous. It’s not all fun and satire, though. There is an impassioned, deeply moving account of his experience in jail; and combined with that keen observation and ability to poke fun at society, it makes for a lovely nuanced, mercurial and poignant performance. Titley masterfully evokes the energy of Wilde; so much so, you can feel you’re sitting in the room with him.
Through it all, even when times are at their roughest, we see a man intent on pursuing a life of pleasure, art and beauty. Sucking the marrow out of life, even in his final days of penury and failing health, Wilde is the soul of wit to the end—a man who made the most of his life until his death at 46 in a Paris hotel.
We then return to 2017 to a short Q&A with Titley, during which one audience member asked if it was true that Wilde’s final words were “One of us has to go,” referring to the wallpaper in his hotel room. It’s highly likely. However, there is some question about his death bed conversion to Catholicism; it’s possible that his gesture in response to Ross’s query to bring a priest was misinterpreted—and he wasn’t signaling affirmation, but rather reaching for a cigarette. So his conversion could have been entirely accidental.
This is a must for all Oscar Wilde fans—or even if you’re just curious about the man. Whether you know a lot or nothing about him, it’s an entertaining and informative ride. I hear Titley is heading out on a cross-country train trip next week. If VIA Rail is smart, they’ll let him perform the show on the train.
A delightful, insightful evening with Oscar in lecture and first-person musings in the witty, thoughtful Introducing Mr. Wilde, or Work is the Curse of the Drinking Class.
Introducing Mr. Wilde, or Work is the Curse of the Drinking Class continues at Red Sandcastle until Jan 15; reserve your spot in advance by emailing email@example.com or by calling 416-845-9411.