All’s Well That Ends Well adaptation a delightfully dark comedic romp with a twist

Christopher Mott, Chanakya Mukherjee & Liz Der. Photo by Stevie Baker.

 

Dauntless City Theatre is back at Berczy Park (aka the dog fountain park across from the St. Lawrence Centre) with a delightful immersive, site-specific adaptation of Shakespeare’s All’s Well That Ends Well. Adapted and directed by Scott Emerson Moyle, assisted by Jordi O’Dael, this version of the play is queer, twisty, darkly funny—and calls out bad behaviour—in an intimate, energetic romp of sauce and wit that’s part cautionary tale, part dark comedy.

Helena (a feisty, resilient turn from Liz Der) has recently lost her father, a skilled and respected doctor, and is now the ward of the recently widowed Countess Rousillon (Andrea Lyons is a treat in this edgy, hilarious performance), whose son Bertram (played with sneering pride and entitlement by Chanakya Mukherjee) is now the new Count. Helena is hopelessly and secretly in love with Bertram, but dares not hope for a match, as she is not noble-born. She is, however, very skilled in the healing arts; and when news arrives that the King of France (played with imperiousness tempered by warmth by Christopher Mott) has been very ill with no cure in sight, she sees a way to prove her worth to Bertram, who has travelled to the French court with his BFF Parolles (a cheeky, lovable scoundrel, played with gusto by Annelise Hawrylak).

Despite his skepticism after many failed treatments administered by many learned men, the King agrees to Helena’s treatment—and rewards her success by offering her the choice of any man in court for her husband. Taking this opportunity, she chooses Bertram; and when he rudely refuses her proposal, the King forces him into marriage. With war brewing in Florence, Parolles sees a way out and suggests that she and Bertram leave France and join the army. They do so, with Bertram leaving word with Helena that he will be her husband only if she successfully completes the impossible task of getting a ring from him and getting pregnant with his child. Helena pursues Bertram to France and, with the help of the independent and savvy innkeeper Diana (Melanie Leon), who Bertram has been doggedly pursuing to bed, hatches a plan to make the impossible possible.

Rounding out the company are Eric Benson as the priggish, arrogant M. LaFeu, an elder courtier at the Countess’s home; Tallan Alexander as Lavatch, the Countess’s saucy valet; and Holly Wyder as the spritely, guitar playing Dumaine the Younger and Anthony Botelho as the cheeky, trumpeter Dumaine the Elder, sibling messengers and our guides around the park.

And just as Helena and Diana put one over on Bertram, Parolles’ fellow soldiers (Lyons, Mott, Alexander and Benson) pull some trickery on him, revealing his true character. Prideful and careless of others, both Bertram and Parolles fall hard, and must surrender to their respective fates in the end. And an unexpected match is made in the process.

Part cautionary tale, part dark comedy, the energetic and entertaining ensemble keeps us on our toes—literally and figuratively—with twisting plot turns, and hilarious battles of words and wits; with some characters thinking and acting with their hearts and others working from somewhere decidedly south of there. Sharp-witted skills at verbal thrust and parry is in great evidence between Hawrylak’s Parolles and Benson’s M. LaFeu, as well as Hawrylak and Der’s Helena, and Lyons’ Countess and Alexander’s Lavatch. And Der’s performance is a great combination of love-struck and determination in Helena’s one-sided attentions to Bertram, and keen debate and care with the King—all while trying to prove herself worthy of Bertram’s love, which he clearly doesn’t want or deserve.

The adaptation lives up to the title, connecting us with the story in an intimate and contemporary way in an immersive, site-specific production that incorporates gender-bending casting, queer twists and calling out bad behaviour. The underlying misogyny and classism get big time push-back with powerful, capable and intelligent female and queer characters who ain’t taking no guff. (And with a female Parolles, we’re also reminded that even women can be dicks.) Beware of the proud and scornful, and the braggart cowards—and the proud and scornful mustn’t underestimate the smart and resourceful, no matter what their station. And don’t waste your talent and affection on someone who doesn’t care for or deserve you.

All’s Well That Ends Well continues in Berczy Park until August 25, with Friday and Saturday evening performances at 7:30 pm (except for Fri, Aug 9); and Saturday and Sunday matinees at 1:00 p.m. Admission is pay what you can (PWYC), suggested $20 per person; look for the Dauntless City Theatre banner, east of the fountain.

 

Department of Corrections: The original post had matinee performances listed at 1:30 p.m.; they’re actually at 1:00 p.m. This has been corrected.

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Memory, loss & insight—true stories of living with mental illness in the funny, poignant Stories Like Crazy double bill

After launching Stories Like Crazy with their inaugural podcast at the beginning of Mental Health Week, Adrianna Prosser and Lori Lane Murphy finished off the week with two real-life solo shows that “stomp on stigma and set fire to adult colouring books”: Lane Murphy’s Upside Down Dad and Prosser’s Everything but the Cat. The double bill ran for two nights this past weekend at Red Sandcastle Theatre, with a portion of the ticket sales going to CMHA’s #GetLoud campaign.

Singer songwriter, and member of the Cheap Wine Collective (and Adrianna’s brother), Luke Prosser opened the two evenings with an acoustic set of fiercely passionate, introspective indie originals and a few covers, including an awesome version of “Folsom Prison Blues.” Wrap your ears around his evocative, raspy blues-infused sound on Soundcloud.

Upside Down Dad (directed by Christopher Lane). Part memoir, part homage, Lane Murphy reminisces about growing up in the 70s with Warner Brothers cartoons, navigating teenage milestones and living with a clinically depressed dad who was by all appearances a happy, fun guy. Childhood memories of being goofy and putting on cartoon voices in an attempt to bring her father out of bouts of profound sadness turn into more urgent and impactful moments in adulthood, where she continued to act as caregiver, driving him to treatment appointments and then being by his bedside when he was dying from leukemia.

Running parallel to her experience of her father’s mental illness is the growing realization of her own—from following her dad’s early example of self-medicating with alcohol to her own personal turning point, supported by him to find a healthier way to deal. And her support of his journey adds new insight to her own.

A genuine and engaging storyteller, Lane Murphy takes us from moments of laughter to tears—and some wacky, bizarre moments—as she chronicles her kindred spirit relationship with her dad. And her story highlights how important conversation is to insight, acceptance and healing—denying or ignoring the problem won’t make it go away.

Everything but the Cat (directed by Stephanie Ouaknine). A personal exploration of loss and grief, Prosser tells the story of losing her younger brother Andrew to suicide and her already shaky relationship with her boyfriend on the same day. Profound grief is peppered with second guesses and guilt, and coupled with gut-wrenching abandonment as her Peter Pan boyfriend, who already has one foot out the door, decides he can’t deal with this, or any, level of commitment.

A multi-media solo show that incorporates projected images (original projections by Ouaknine, with additional projections by Jason Martorino), Everything but the Cat includes shadow acting and voice-over work by Maksym Barnett-Kemper Shkvorets, Brad Emes, Hannah Barnett-Kemper Shkvorets, Erik Buchanan, Andrew Hodwitz, Scott Emerson Moyle, Devin Upham, Eden Bachelder, Stephanie Ouaknine, Daniel Legault, Niles Anthony, Gaj Mariathasan, Tammy Everett, AJ LaFlamme, Jason Martorino, Val Adriaanse, Jordi Hepburn and Phil Rickaby. Bringing moments of the story to life in creative and innovative ways—from learning the news of her brother from her dad, to grief-stricken/-propelled experiences of throwing herself into the club and dating scene—the projected images and lit areas evoke time, place and, most importantly, emotional state.

Infusing her story with edgy comedy and sharply pointed observation, Prosser gives a brave, bold, deeply vulnerable and ultimately entertaining performance that not only takes us along, but inside, her journey.

Memory, loss and insight—true stories of living with mental illness in the funny, poignant Stories Like Crazy double bill.

Stories Like Crazy’s evening of solo shows closed last night, but you can hear more true stories about mental health and living with mental illness—opening conversation and busting stigma—on the Stories Like Crazy podcast, hosted by Prosser and Lane Murphy. You can also keep up with Stories Like Crazy on Twitter.

Preview: Moving modern LGBT take on classic star-crossed lovers in Romeo and (her) Juliet

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Leslie McBay (Romeo) & Krystina Bojanowski (Juliet)

Headstrong Collective and Urban Bard took us to the Church of Shakespeare at Bloor Street United Church last night – literally and figuratively – in their preview performance of Romeo and (her) Juliet, directed by Urban Bard A.D. Scott Emerson Moyle, and produced by Headstrong Collective co-founders/producers/actors Melanie Hrymak and Leslie McBay.

Outside the sanctuary, on opposite sides of the doors, are tables with photographs of Tybalt (Hrymak) and Mercutio (Max Tepper), with accompanying guest books and condolence cards. Inside, front and centre, there is a poster-sized photograph of Romeo (McBay) and Juliet (Krystina Bojanowski), an image captured at their wedding. The play is set during a memorial service, and in Friar Laurence’s (Lisa Karen Cox) memory of events from the previous week.

This is a moving, modern-day, queer interpretation of Romeo and Juliet; the lovers are both women, as are Benvolio (Clare Blackwood) and Friar Laurence (Cox), while Nurse is Capulet’s male assistant (Shawn Ahmed, who also plays Sgt. Prince, a community liaison officer). Mrs. Capulet (Siobhan Richardson, also doing double duty as fight director) is Capulet’s (Geoffrey Whynot) second wife, with the up and coming Paris (Adrian Shepherd) their prime choice for a son-in-law. The one-line character descriptions in the program read like Facebook status points and the cast reflects the diverse culture of Toronto – and the enmity between the Capulets and Montagues is as much about the one percent vs. the 99 percent as it is about family feud.

McBay and Bojanowski are lovely as the ill-fated teen lovers; McBay’s Romeo is a sensitive romantic, with a melancholy edge and soft butch swagger, and Bojanowski’s Juliet is bright and sweet, unspoiled by her privileged life and looking forward to a sense of independence while away at university. Blackwood and Tepper give strong – and often comic – performances as Romeo’s BFFs: the streetwise and protective Benvolio (Blackwood) and party boy Fool Mercutio (Tepper). Hrymak’s Tybalt is nicely nuanced – haughty and proud, but not without conscience in her drive to defend her family’s reputation. Whynot carries Capulet’s alpha male power well, his angry outbursts hinting at the potential for physical violence; Richardson’s Mrs. Capulet, step-mother to Juliet, is a compelling contradiction of chilly Rosedale matron whose emotions run deep and intense. Cox does a beautiful job as Laurence, the supportive community cleric, as well as mentor and friend to Romeo – caught in the middle of a family war and desperately trying to resolve it. Doing double acting duty, Ahmed is the picture of efficiency and warmth as Nurse, and equally supportive, but at the end of his patience, as Sgt. Prince; and Adrian Shepherd gives us a perfectly coiffed and well-mannered Paris, with a hint of bad boy beneath the golden boy exterior, and a nice turn as the wary street-dwelling drug dealer who begrudgingly sells Romeo the deadly poison.

The site-specific venue works incredibly well for this production of Shakespeare’s timeless classic tale of star-crossed love – and the 90-minute abridged version of the script hits all the important plot points and sweet spots the audience needs to become immersed in the story. In the end, are bereft and grieving – including the audience.

With shouts to composer Stephen Joffe for the moving atmospheric soundtrack; and stage manager Christina Abes for keeping things running smoothly and at a good pace in the complex, multi-level playing space.

Headstrong Collective/Urban Bard production of Romeo and (her) Juliet is a powerful contemporary urban interpretation, beautifully staged and truthfully acted. Go see this.

Romeo and (her) Juliet opens tomorrow night (Fri, Sept 5) and runs until Sept 20 at Bloor Street United Church (300 Bloor Street West at Huron); entrance is on the Bloor St. side, around the middle of the building. You can purchase tickets at the door 30 minutes before the show or online here. Please note the 7:30 p.m. curtain time; the show runs 90 minutes with no intermission.