Toronto Fringe: Burlesque macabredy delights in the erotic queer vampire tale Carmilla

Heath V. Salazar & Stella Kulagowski. Photo by Sly Feiticeira.

 

Pointed Cap Playhouse takes Toronto Fringe audiences to a Victorian world of frightening yet titillating portents and strange, alluring creatures in Adam Steel’s burlesque adaptation of Carmilla; running at The Painted Lady. Co-created by Sly Feiticeira, Stella Kulagowski and Adam Steel, and directed by Kay Brattan, this version of the vampire was inspired by Joseph Sheridan La Fanu’s book, which pre-dated the Bram Stoker classic by 26 years. Here, the vampire is attractive, seductive and rife with eroticism—think Frank Langella’s or Gary Oldman’s Dracula, or the beautiful creatures from Interview with the Vampire.

Carmilla opens on the English country home of Dominic Sheridan (Shawn Lall), where he lives with his lovely, well-mannered flaxen-haired daughter Laura (Stella Kulagowski) and prim governess Mlle. De La Fontaine (Amanda McKnight). Laura’s hopes and excitement over the impending visit of new friend Bertha (McKnight) are dashed when they learn that Bertha has succumbed to a mysterious illness and died. A carriage accident near their home brings an equally mysterious woman (Sly Feiticeira) to their door, searching for a place to sequester her injured daughter as she continues on an important mission. Sheridan takes the daughter in, an unconscious figure wrapped in a cloak.

Bertha’s grief-stricken father General Spielsdorf (Sebastien Marziali) travels to Romania in search of answers for his daughter’s death, posting regular updates to Sheridan. Meanwhile, Laura becomes fast friends with their young guest, a strikingly beautiful, pale young woman with raven hair named Carmilla (Heath V. Salazar). When their friendship evolves into something more, and Laura starts dressing and behaving in an uncharacteristic way, Sheridan becomes concerned for his daughter’s health. And when the General returns with some troubling information about the nature of the deadly ailment, suspicions about Carmilla are confirmed.

Part burlesque, part melodrama, part macabredy—with a dash of erotic fairy tale—Carmilla is a sexy, fun romp of a queer vampire tale, presented with style, sass and seductiveness. Featuring evocative, fun and sensual choreography by Kulagowski, Salazar and Marziali, it’s a rousing burlesque delight. If you’re a burlesque virgin, no worries—Mlle. De La Fontaine will reveal all when it comes to burlesque audience etiquette.

Carmilla continues at The Painted Lady, with performances tonight (July 12) at 7pm, and Saturday and Sunday at 1pm. Last night’s show was sold out, and it’s an intimate venue, so advance booking is a very good plan.

Want to check if the show you want to see is sold out? The Toronto Fringe folks have set up a page for sold-out shows, updated daily.

 

 

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Pun & games for kids of all ages, with hilarious panto good times, in RaPUNzel

 

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?

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Chris Gibbs as Widow Twankey, with Co-writer/AD Rosemary Doyle in the background—photo by Burke Campbell

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.

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Taran Beaty as the ogre Monsanto, with Sebastian Marziali as Chicken (left), Chris Gibbs as Twankey (background) & Amelia Welcher as RaPUNzel (right)—photo by Burke Campbell

 

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.