Upcoming hiatus & news

Photo by Jens Lelie on Unsplash

 

Hi all – Hope 2020 is being good to everyone so far!

life with more cowbell celebrated its ninth anniversary earlier this month and—counting two years blogging for Alumnae Theatre Company—that means I’ve been blogging about theatre for 11 years now. Time flies! It’s been an amazing 11 years, reviewing remarkable, mind-blowing theatre; shouting out Toronto’s rich and vibrant literary, visual arts and music events; and interviewing and getting to know various artists.

When I first started the blog, I had a permanent full-time office job, so I was able to put in the requisite time and energy on an unpaid after hours/weekend passion project; and, since its inception, life with more cowbell has grown in both readership and inclusion on media lists. Over the years, I’ve considered various ways to ‘monetize’ the blog, but in the end decided to keep it free and without strings attached.

A couple of things have changed since the birth of the blog. First, I was laid off my full-time job almost four years ago; and I’ve since become an accidental freelancer/contract worker (copy editing, proofreading and writing, in addition to working as non-union voice-over talent) as I continue to search for permanent employment. Also, as much as I’ve enjoyed shouting out the Toronto arts scene, especially theatre, I’ve found that I’ve been spending most of my free time writing about other people’s art instead of making my own. For a while, I considered that writing about other people’s creative work was my creative work. But after performing in Andrew Batten’s last play The Sad Blisters and exhibiting in ARTiculations’ 2019 Curio Shadow Box Show last year, and a day on location, acting in an indie film adaptation of a novel couple of weeks ago, I realized I really miss working and playing in that creative space.

So, I’ve decided I need to make a change. And to that end, I’ll be putting life with more cowbell on an indefinite hiatus as of February 1 as I ponder a new direction for myself and the blog. I already have a few review bookings coming up (Shakespeare BASH’d’s Cymbeline and Toronto Irish Players’ Many Young Men of Twenty in February; and Discord and Din’s Revolt. She Said. Revolt Again. in April); I intend to honour those commitments—but, otherwise, I won’t be doing any reviews in the foreseeable future.

I’ve thought long and hard about this. In fact, it’s come to mind every New Year for the past few years. And even though I won’t be reviewing, I’ll continue to broadcast boost shows and performances/events on social media; and tweet, share and post about performances, events and exhibits I attend. When I return to the blog, I’ll provide an update on where we’ll be headed next.

To my readers, thank you so much for your feedback and support throughout the years; and big thanks to all the marketing/PR and production folks for including me on their mailing lists and inviting me to see so many amazing shows. The blog and I aren’t going away—I’m just hitting pause as I prepare for a return with a new direction. And I will keep shouting out Toronto’s rich and vibrant arts scene no matter what.

Cheers, Cate

 

 

 

Real-life ghost stories come out of the dark in the compelling, entertaining, thoughtful The Ghost Project

Karie Richards. Photo by Tanja-Tiziana.

 

Playwright/performer/producer Karie Richards opened the Toronto premiere of her documentary solo show The Ghost Project to a sold-out house in the BMO Incubator at The Theatre Centre last night. Originally directed by Jeff Culbert, The Ghost Project was a hit at the Fringe circuit, premiering at the Halifax Fringe 2018, and went on to the London Fringe and Winnipeg Fringe in 2019. Distilling 13 stories from 28 interviews with friends and family, Richards weaves a series of monologues, all told in the first person, from the storyteller’s point of view—capturing the gamut of emotional and rational responses; and exploring the thoughts, feelings and questions about what happens to us after we die. The result is a compelling, entertaining and thoughtful piece of verbatim storytelling.

Do you believe in ghosts? Have you ever encountered one? While Karie Richards isn’t sure what she thinks, she believes the stories told to her by friends and family—personal experiences with spiritual manifestations that defy explanation and everyday frame of reference; and that ultimately make us question the nature of the afterlife. Each real-life character reveals their story, be it from their university days, childhood or adulthood, or even an experience their child had while they were present. People reacting and responding in the moment; and, in some cases, wondering aloud what it all means. Are these the actual souls or spirits of the departed, or the energy traces they left behind? Or are these encounters a chance look through a thin veil of everyday reality, providing a glimpse of another time or plane of existence while the one experiencing it remains rooted in their own?

Encounters with, and messages from, deceased loved ones; former homeowners looking in on new residents/guests; and unexplained events at a haunted theatre space (Alumnae Theatre folk and fans will be familiar) all come into play—with manifestations ranging from malevolent to friendly, frightening to calming, everyday to ethereal. Experiences of shadowy figures blacker than the darkness, a floating blue girl, a surprising encounter during an Indigenous ceremony, the comfort of a nurturing parental energy, and the high-spirited insistence of a youthful presence that evoked profound responses for the storyteller emerge in Richards’ performance. Navigating myriad emotions, from paralyzing fear, to grief and loss, confusion, relief and joy, each character is vulnerable, curious, wonder-struck and thoughtful. Do these spirits want to be noticed and acknowledged? Are they relieving boredom with their spooky shenanigans? Do they have something to tell us?

Deftly shifting from character to character—signified by the collection and return of a single costume piece or prop from a wardrobe, and remarkable adjustments to voice, facial expression and posture—with a gentle calmness and the care of ceremony, Richards conjures up each storyteller for us, presenting with nuance and profound sensitivity the experiences, reactions and thoughts of each. And her carefully, finely-drawn embodiment of each storyteller makes for a compelling and entertaining performance that goes beyond the storytelling itself. In many cases, it’s the first time the storyteller has revealed their experience to anyone—requiring a high level of trust in, and comfort with, Richards during the interview process that preceded the creation of the piece. The results are eerie, funny, deeply moving and thought-provoking.

Richards’ performance is nicely supported by Glenn Davidson’s minimalist, effective production design, as well as John Sheard’s haunting composition, and atmospheric sound effects supplied by Peter Thillaye and Steve Munro.

Whatever you believe, The Ghost Project engages as much as it challenges the audience to open up and reach out into the unknown—and entertain the suggestion that death is not the end of our journey, but the beginning of a new one. If you have the opportunity, stick around for the post-show talkback, where audience members are invited to ask questions and share their own ghost stories.

The Ghost Project continues in the Incubator space at the Theatre Centre until January 26, with evening performances at 7:00 p.m., and matinées on Saturday and Sunday at 2:00 p.m. Tickets are available online, in person at the box office, or by calling 416-538-0988. It’s a very short run and seating is limited, so advance booking or early arrival is strongly recommended; please note the 7:00 p.m. curtain time for evening performances.

 

 

NSTF: Love, grief & celebrating life in the deeply moving, resonant musical Every Silver Lining

Allison Wither & Laura Piccinin. Photo by Tanja-Tiziana.

 

Silver Lining Productions brings its Toronto Fringe 2019 breakout musical theatre hit Every Silver Lining to the Factory Theatre Mainspace for the Next Stage Theatre Festival. Written by Laura Piccinin and Allison Wither, and directed by Jennifer Stewart, with music direction by Aaron Eyre, Every Silver Lining takes us on a journey of love, friendship, grief and a celebration of life as a family and a group of high school students navigate the loss of a son, brother and friend to cancer. The songs are both profoundly insightful, revealing and catchy—resonating deep in the heart—performed with impressive vocal chops and great sensitivity.

Seventeen-year-old Andrew (Daniel Karp) has leukemia and is looking forward to his last round of chemo. Hiding his illness from even his closest friends, he just wants to get back to school, hang out with his friends and live as normal a life as possible. He and his teen sister Clara (Allison Wither) are good buds, but since his diagnosis, she’s been feeling invisible at home, drowning in the extreme life-changing routine and tension-filled atmosphere; and even having to put some of her own life on hold while she drives Andrew to appointments and keeps him company during chemo sessions. Their mother Judy (Alison J Palmer) is fearful and hovering, and getting on Andrew’s nerves; and dad Kevin (Luke Marty) is caught in the middle, acting as peacemaker between his wife and son while the family lives with the stress and uncertainty of Andrew’s prognosis.

At school, Clara’s BFF Emily (Laura Piccinin) gently prods and advises her on how to get to know the cute new guy Ben (Alex Furber). Clara’s not sure she’s up for it, but finds herself drawn to Ben; and Andrew is happy to be back with his gamer friends Jeremy (Joel Cumber), Bev (Jada Rifkin) and Sam (Ben Skipper). This period of apparent normalcy is short-lived as Andrew comes down with a critical infection, and his chances for further treatment are gone.

Andrew’s friends are stunned to learn of his death—especially as they hadn’t known he was ill—and find themselves facing the death of a loved one their own age for the first time. They’re well-supported by their arts and science teacher Ms. Vella (Starr Domingue), who gives them space to share their thoughts and feelings. Dealing with so many feelings—about Andrew, dealing with school work and tests, blossoming feelings of attraction—and experiencing the various stages of grief is painful and confusing. But, ultimately, the friends pull together to support each other, remember Andrew and celebrate his life.

Delivered with heart and impressive vocal chops—and nicely supported by musicians Aaron Eyre (piano), Erika Nielsen (cello) and Alex Panneton (percussion)—the cast takes us from laughter to tears; performing beautifully composed songs featuring moving and catchy melodies, resonant counter melodies, and soaring harmonies. Karp gives the outgoing Daniel a combination of brave face and resilient resistance; struggling, even fighting, for normalcy when his life has been turned upside down in the face of an unknown outcome. Wither’s performance as the introverted, irreverent Clara is a nuanced portrait of a teen working through complex, challenging times; the sometimes tough, give no fucks exterior belies her inner conflict and fear of losing her brother. She loves her brother, but she hates what the disease is doing to him and their family; and feels guilty for doing so. Palmer and Marty’s grounded, present performances as parents Judy and Kevin run the gamut from hope to despair; Palmer’s loving helicopter mom and Marty’s supportive middleman dad are doing the best they can while facing the unthinkable loss of a child.

Furber gives an adorkably lovable performance as the cute, somewhat nerdy Ben; there are some lovely moments with Wither as Ben and Clara get to know each other and explore their growing attraction. Piccinin and Cumber add some great, and much needed, comic relief as the effervescent extrovert Emily and the goofy, fun-loving Jeremy. Piccinin gives Emily a warm, protective, enveloping hug vibe, while Cumber’s Jeremy is more sensitive than at first glance, using gentle humour to support his friends through their grief. Rifkin gives a poignant performance as the socially awkward Bev; and Skipper does a nice job revealing Sam’s anger about Andrew’s death, and toward Andrew himself, as Sam deals with his grief. Domingue is lovely, engaging and supportive as Ms. Vella; and makes for an understanding, approachable oncologist.

Profoundly poignant and inspiring—and full of spirit, hope and love—in the end, Every Silver Lining is about recognizing and being open to the love and support of family and friends during times of fear, loss and grief; and sharing, remembering and celebrating the life of the departed loved one as part of the acknowledgment of, and working through, the stages of the mourning process.

Every Silver Lining continues in the Factory Theatre Mainspace until January 19; check the show page for exact dates, times and advance ticket purchase.

Toronto Fringe: Exorcising inner demons in the part self-help, part stand-up, all heart Personal Demon Hunter

Velvet Duke. Photo by Tyra Sweet.

 

The Velvet Duke faces off with our inner demons in Velvet Wells’ Personal Demon Hunter, running in the back room on the main floor at the Imperial Pub. Part self-help workshop, part stand-up and all heart, personal storytelling, improv and music combine to create a casual, open-minded space where audience members are gently invited to share their personal demons.

Motivational speaker Velvet Duke (Wells) welcomes us into the space, a workshop designed to address our inner demons–and also, as his puppet friends suggest, our angels. Diving into family history, lived experience and the ongoing inner voice we all possess, Duke shares his story, through anecdote and music—accompanied by Alan Val, Wells’ partner in the band OverDude, on electric guitar, doing some musical improving; and stage manager Alan Leightizer on laptop—and invites us to share ours.

Wells is a totally relatable and approachable presence, finding common ground as he shares personal stories that resonate; and ever so gently inviting consensual audience participation. His ultimate message: You are enough and you don’t need growth to be a person of value because you already are a person of value.

Father issues, self-doubt, unhealthy family dynamics, imposter syndrome, toxic workplaces—the space and its occupants are open-minded and open-hearted during the sharing. And saying it out loud, naming the demons, is a good step toward exorcising them. Angels and demons in our everyday lives—around us and within us—our outer and inner voices of positivity and negativity. Wells encourages us to push those negative influences and voices aside, and find and keep positive connections—whether it’s on stage behind a microphone or at our jobs, wherever.

Person Demon Hunter continues at the Imperial Pub for four more performances: July 11-13 at 8:00 and July 13 at 3:00; check the show page for advance tickets.

Wells and Leightizer are also cast members of The Dandies, who rock Star Trek-themed improv in Holodeck Follies.

A hero’s epic journey in the magical, multidisciplinary Kiviuq Returns: An Inuit Epic

Qaggiq Collective ensemble—Animal Den scene. Costume design by Looee Arreak. Projection design by Jamie Griffiths. Lighting design by Rebecca Picherack. Photo by Jamie Griffiths.

 

Tarragon Theatre presents The Qaggiq Collective’s magical, multidisciplinary hero’s journey Kiviuq Returns: An Inuit Epic. Written by the Iqaluit, Nunavut-based collective, and inspired by the legends of the Inuit hero Kiviuq, the multimedia performance is based on stories remembered and shared by Inuit elder storytellers Miriam Aglukkaq (from Kugaarjuk), Susan Avingaq (from Igloolik), Madeline Ivalu (from Igloolik) and Qaunaq Mikigak (from Kinngait)—passed on in the oral tradition. Directed by Laakkuluk Williamson Bathory, Kiviuq Returns is performed entirely in Inuktitut, with no surtitles,* incorporating music, dance, movement, mask and projections—immersing the audience in Inuit culture, community and storytelling.

Starring Natar Ungalaq, Charlotte Qamaniq, Vinnie Karetak (last night, understudy Jerry Laisa stepped in for Karetak), Christine Tootoo, Keenan Carpenter and Avery Keenainak, Kiviuq Returns presents five of the hundreds of stories about the Inuit hero. Three actors share the role of Kiviuq (Ungalaq, Tootoo and Laisa), with role exchanges marked by the passing of Kiviuq’s qajaq (kayak) paddle and headband—representing the sharing of power and knowledge among Inuit communities. The four elders who shared these stories are present via video projection, to round out each of the five tales.

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Qaggiq Collective ensemble—Orphan bullying scene. Costume design by Looee Arreak. Projection design by Jamie Griffiths. Lighting design by Rebecca Picherack. Photo by Jamie Griffiths.

Comedy turns to tragedy in the story of the Orphan (Keenainak), turned into a seal for her protection from repeated abuse from bullies by her angakkuq (shaman) grandmother (Qamaniq), who is heartbroken over having to do this. Only Kiviuq (Ungalaq) is spared from retribution while he’s out hunting in his qajaq with the bullies, as he had tried to intervene and stop the bullying. Lost and adrift, his hero’s journey begins.

From the push/pull dynamic of Kiviuq’s (Tootoo) desire to wed a Fox Woman (Keenainak) who just longs to be free (song written by Avery Keenainak and Abraham Etak), to his hilariously bawdy encounter with a den of lusty animals (Carpenter, Laisa, Qamaniq and Ungalaq), to a brush with death when he’s (Laisa) captured by the fearful Bee Woman (Qamaniq), Kiviuq is present and connected to his environment, and the animals and spirit guides that come to assist him. Nicely bookending the five stories, Ungalaq returns to play Kiviuq once more at the end of his journey, where he must stay behind as his Goose Wife (Keenainak) and goslings (Carpenter, Laisa, Qamaniq and Tootoo) fly south and he transforms out of human form to become part of the landscape.

Woven into the Kiviuq stories are a Woman’s Dance; bringing to mind the serious mental health issues faced by our Indigenous population, the woman struggles with a deep internal conflict, eventually overcoming it. And the beautiful Sea Woman Poem (written in English by Taqralik Partridge and translated into Inuktitut by Looee Arreak), featuring Tootoo leading the ensemble. Expressing deep love and respect for the water, the poem despairs at the careless and dangerous environmental damage done by modern-day industry; the movements accompanying the words rippling through each performer. And there’s a song (sound design by Chris Coleman), repeated during each Kiviuq exchange; hypnotic and relaxing, like a lullaby wrapping you in the comfort and safety of home—it stays with you long after you’ve left the theatre.

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Fox elder story. Projection design by Jamie Griffiths. Photo by Jamie Griffiths.

The storytelling is playful, poignant and engaging—having you laughing one minute and breaking your heart the next. The adventure, the shifting landscapes (projection design by Jamie Griffiths), and cast of human, animal and spirit characters keep you on your toes as you let the Inuktitut language wash over you. It’s that ‘kid at story time’ kind of feeling. And the easy-going atmosphere of the relaxed performance format makes for an intimate, enjoyable experience at the theatre. A story for all ages, it’s a welcoming, open door feeling, acknowledging the young and the elders as crucial members of the community.

Kiviuq Returns: An Inuit Epic is in its final week in the Tarragon Theatre Mainspace, closing on January 27; get advance tickets online or contact the box office at 416-531-1827. Last night’s house was packed, so advance booking or extra early arrival at the theatre are strongly recommended.

*The production provides a play guide, available for viewing and download online, and in the printed programs. It is recommended that you review the guide before and after the show, as well as reference it during (lights are brought up during scene changes) to aid in a deeper understanding of the performance.