The Real Housewives meets Molière in GBTS’s hilariously delightful The Learned Ladies

Ensemble. Set & costume design by Brandon Kleiman. Lighting design by Siobhan Sleath. Photo by Cylla von Tiedemann.

 

The George Brown Theatre School (GBTS) graduating class opened its 2019-20 season at the Young Centre this week with a hilariously delightful take on Molière’s The Learned Ladies, translated by Richard Wilbur, directed by Sue Miner and choreographed by Bob McCollum. It’s The Real Housewives of Paris meets Molière as the translated text combines with a contemporary backdrop in a razor-sharp send-up of attention-seeking celebrity rich people and the famous poseur artists they fawn over. Plus ça change…

We are introduced to the characters in etalk red carpet style, complete with director (a hyper-efficient, clipboard-bearing Amelia Ryan), and self-involved celebrity hosts Joshua (sunglasses-wearing cock of the walk Jack Copland) and Salique (Siobhan Johnson, with runway model fetching fierceness). The parade of artifice and authenticity gives us a glimpse at the nature of the people we’re about to meet as they walk, stroll and pose across Brandon Kleiman’s colourful pink explosion of a set (think Barbie meets Dr. Seuss).

Left behind the glamourous clamour is the bespectacled, introverted Clitandre (an adorkably sweet turn from Barry McCluskey), trying to catch up with his sweetheart and intended bride Henriette (played with vulnerable resilience and independence by Cait MacMullin). When Henriette meets with her more popular older sister Armande (a hilariously vain and self-absorbed performance from Hannah Forest Briand) in a café, we learn that Clitandre was once smitten with Armande, who has sworn off traditional relationships like marriage in the interests of academic and artistic learning, and rejected his love.

Of course, the young intended couple have barriers to overcome, chiefly Henriette’s overbearing, judgmental mother Philaminte (a domineering Kardashian-esque philosopher turn from Jessica Pellicciotta), who boasts a small army of “learned ladies” in a self-directed academy of their own making: Arganiette (wacky, woo bottle carrying Ilona Gal), expert in Health and Health Trends; Violette (an imperious, verbally agile Renisha Henry), expert in Government and Justice; Dorimene (a fastidious, unforgiving librarian-esqe Amy Leis); and Lucillia (a spacy, star-gazing Lauren Merotto), expert in Stars and Other Worldly. They are joined by Philaminte’s sister-in-law (her husband Chrysale’s sister), self-proclaimed heart-breaker Aunt Belise (played with outrageously funny, delusional panache by Jane Neumier).

On Henriette and Clitandre’s side are her brow-beaten father Chrysale (played with goofy cowardly lion kindness by Kareem Mark Vaude) and his other sister, lawyer Aunt Ariste (Nastasia Pappas-Kemps, with brilliant, level-headed good sense and wide-eyed energy). Rounding out the group are Chrysale and Philaminte’s household servants: Martine the maid (a cheeky, forthright and irreverent Iris Hallman) and Butler Lepine (Ian Williams, with a combination of uptight decorum and the enthusiasm of one who’s swallowed the poseur Kool-Aid).

Philaminte has other plans for Henriette, choosing celebrity boy wonder poet Trissotin (a hysterically classic, physical poseur artist turn from Brian Le) as husband for her youngest daughter. Trissotin has his eye on someone else; and problems of his own, when his talent and reputation are challenged by poetry performance power couple, lovers Vadius (Sansom Marchand, in a proud, haughty cypher turn) and Mademoiselle Fosina (an intimidating, sensual turn from Jacqueline JD Plante). Adding insult to injury, Philaminte gives her blessing when the jealous, attention-seeking Armande decides she wants Clitandre back!

Finally finding the gumption to stand up to his bossy wife, Chrysale hatches a plan with his sister Ariste to make it right for Henriette and Clitandre. And, as this is Molière, things have a way of working out—in some unexpected, surprising and wacky ways.

The Learned Ladies, George Brown
Ensemble. Set & costume design by Brandon Kleiman. Lighting design by Siobhan Sleath. Photo by Cylla von Tiedemann.

The razor-sharp satire pokes great fun at the fond and foolish rich people who become celebrities for no apparent reason other than for their over-the-top antics and ridiculous wealth; and those among the art and media glitterati who achieve fame with their mannequin good looks and artiste du jour popularity. And it rips into those who are slavishly and superficially dedicated to learning, their noses stuck in books and their heads up their asses—intolerant of and excluding those who don’t meet their unforgiving, idiotic standards. Through the red carpet galas; spa days; poetry tableaux; and yoga classes that are part yoga, part Tai Chi, part voguing—we see how artificial and disingenuous these idle rich folk are. Thankfully, authenticity, acceptance and inclusion win the day.

The Learned Ladies continues at the Young Centre until November 16; advance tickets available online or by calling the box office at 416-866-8666 or 1-888-898-1188.

Check out GBTS’s 2019-20 season, and keep up with this year’s graduating class on Facebook.

 

Toronto Fringe: Resilience against all odds in the defiant, poignant, hopeful The Pansy Craze: A New Musical

In a time when “transgender” wasn’t a word and homosexuality was illegal, a trans woman refuses to be invisible and shines on the vaudeville stage in Next Stop Productions’ The Pansy Craze. With book, music and lyrics by Avery Jean Brennan, and directed by Dustin George, with music direction by Brennan, the new musical is running at the Randolph Theatre during the Toronto Fringe festival.

The Pansy Craze takes us to 1930s America, behind the scenes of underground vaudeville venues—speakeasies, where booze wasn’t the only prohibited item on the menu. In a bid to out-do the competition, these establishments boasted titillating shows, putting queer performers on the bill to entice customers. When star actress Helen (Stephanie Hood)—recently and conveniently married to Charlie (Shaquille Pottinger) so they can be a husband and wife act—sprains her ankle, closeted Emcee Duncan (Eric McDace, alternate for Teddy Moynihan) decides to put Jeanie (Devin Herbert), who is a transgender woman, into the act. The group has a huge opportunity at an upscale Manhattan place run by Gladys (Kira Renee) and unofficially overseen by Tom (Sansom Marchand), a cop who turns a blind eye to the illegal goings-on so he can have a place to drink. Gladys also has connections with famous vaudeville impresario Norbert (Peter Mundell).

Jeanie, a talented songwriter/performer, illuminates the stage with panache and heartbreaking torch songs. “Pansies”, as the queer performers are called, are okay with establishment managers, so long as they entertain and bring in customers—but Tom isn’t so happy about turning a blind eye to this particular bending of the law, particularly Jeanie, who doesn’t blend in onstage or off. Complicated relationships emerge within the company, with more drama occurring in the wings than onstage at times.

When prohibition is lifted, booze comes out of the closet, but queer performers are no longer welcome—now that these vaudeville houses are above ground, they can’t risk running afoul of the law and losing customers. Refusing to be closeted or forced into a “normal” life as a man, Jeanie sets her sights on continuing her career, and she and Charlie get audition spots for Norbert’s show. And when tragedy strikes this tight-knit group, Charlie finds himself with a life-altering decision to make.

There’s high-energy hoofing and singing from an entertaining cast. Herbert is a clear stand-out as Jeanie; lighting up the stage, they shine in a charismatic performance, full of style, sass and impressive vocal chops that can belt out a tune or break a heart. Lovely scenes and duet with Pottinger, who gives a nicely layered performance as Charlie, a talented and conflicted young man who’s forced to confront his own heart, inspired in part by Jeanie’s chutzpah. “So What if I’m a Pansy” becomes a defiant and touching anthem—for LGBTQ folks and anyone struggling to be themselves.

The Pansy Craze continues at the Randolph until July 15; check the show page for exact dates/times.