Ergo Pink Fest: Character is fate & sisters start doing it for themselves in The Women of Casterbridge

Ergo Arts Theatre opened the Ergo Pink Fest at the Small World Music Centre at Artscape Youngplace last night. A three-day festival of new plays by female and non-binary identified playwrights, script criteria includes: “at least two women/non-binary people, who both have names; 2. These two people talk to each other; 3. They talk about something other than a man.” So these are Bechdel-tested works!

The festival opened with Claire Ross Dunn’s The Women of Casterbridge, a feminist retelling of Thomas Hardy’s The Mayor of Casterbridge, directed by Diana Leblanc.

Sold in the market to a kind sailor (David Storch), by her drunken brute of a husband Michael Henchard (Patrick Galligan)—who blames them for his lack of social and financial opportunity and advancement—Susan (Catherine Fitch) and her four-year-old daughter Elizabeth Jane (Laura Schutt) leave England to live with the sailor, Richard Newson, in Newfoundland. Years later, after Newson is declared dead in a ship wreck and they’re evicted from their sailor’s lodgings, Susan (who is now quite ill) and Elizabeth Jane have no choice but to return to England in search of Henchard, in hopes that he will lend them some assistance and secure their survival.

In the intervening years, Henchard has quit drinking and sorted himself out, eventually owning a successful grain business and becoming the Mayor of Casterbridge. A miraculously changed man, when Susan finds him, he asks her forgiveness and plans to make things right. Elizabeth Jane is unaware of the circumstances that sent her and her mother away, so Henchard hatches a plan to woo Susan anew and marry her; in doing so, he must break off his understanding with his lover Lucetta (Kat Gauthier). He also has big plans for innovation with his business, convincing young Scot Donald Farfrae (Sergio Di Zio) to stay in Casterbridge and work with him. Farfrae and Elizabeth Jane, who is an unusually independent and strong-willed young woman for her time, are drawn to each other.

When Susan dies, Henchard decides to renew his relationship with Lucetta, newly returned to Casterbridge a wealthy heiress. She takes Elizabeth Jane, a like-minded independent woman, on as her companion; she also catches the eye of Farfrae, who favours her over Elizabeth Jane. Henchard’s inner demons of greed and pride rear their ugly heads; jealous of Farfrae’s popularity and charm, and of Lucetta’s interest in him, he fires him from the company and returns to the bottle, setting in motion a self-fulfilling prophecy that rolls out over the subsequent years. Turning his anger upon Lucetta, Henchard has letters from her that reveal their prior relationship, spelling her ruin if released. A group of townspeople (Marium Carvell, Stuart Clow and David Storch) catch wind of their earlier affair and make a public spectacle. Meanwhile, Elizabeth Jane, hungry for knowledge and “enlargement” herself, works hard and overcomes the heartache of losing Farfrae to Lucetta, who’d taken her on as a companion.

Excellent work from the entire—and mostly multitasking—cast. Chock full of melodramatic (and comedic) twists and turns, startling revelations and heartfelt confessions, Susan’s motto “character is fate” plays out for all.

Ergo Pink Fest continues in the Small World Music Centre this weekend, closing tomorrow (March 25). Coming up next at the Fest:

March 24 @ 1:30 pm: Being Helen by Laurie Fyffe, directed by Andrea Donaldson

March 24 @ 4:00 pm: The Sister Op by Shelley M. Hobbs, directed by Susan A. Lock

March 24 @ 8:00 pm: Witts: Ballad of the Queer Cowboys by Calla Wright, directed by Anna Pappas

March 25 @ 1:30 pm: The Next Mary by Mairy Beam, directed by Rebecca Picherack

March 25 @ 4:00 pm: Sol by Araceli Ferrara, directed by Anita La Selva

March 25 @ 6:45 pm: Manners by Nastasia Pappas-Kemps, directed by Sue Miner

The Fest also includes two free panels:

March 25, from 12:00 – 1:00 pm: Bridging the Gap: The Value of Mentorship and Relationships between Artists (Room 106). Mediator: Thalia Gonzalez Kane. Panelists: Tamara Almeida, Angela Besharah, Martha Burns, Erin Carter, Marcia Johnson, Heath V. Salazar.

March 25, from 5:00 – 6:30 pm: Colour. Culture. Curtain. Cross-racial Casting on Contemporary Stages (Room 106). Mediator: Nicole Stamp. Panelists: Dian Marie Bridge, Courtney Ch’ng Lancaster, Tanisha Taitt, Paula Wing.

Check the full line-up details and book advance tickets. It’s an intimate venue, and last night was sold out and then some, so advance booking strongly recommended.

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Family legacy, identity & repressed anger released in the sharply funny, biting Bad Jews

Rebecca Applebaum, Kristopher Turner & Daniel Krantz in Bad Jews—photo by Dahlia Katz

 

We’re all invited to crash at Jonah and Liam’s as we pay our last respects to their grandfather in the Koffler Centre of the Arts’ production of Joshua Harmon’s Bad Jews, directed by Michèle Lonsdale-Smith. Bad Jews opened last night in the Small World Music Centre at Artscape Youngplace.

Set in an shoe box-sized NYC studio apartment, which Jonah (Daniel Krantz) and Liam’s (Kristopher Turner) parents bought so they could have a place to stay in their building during the funeral, Bad Jews takes us on an emotional journey as we get a taste of the repressed anger, hidden resentments, judgements and expectations of this family. The apartment becomes a physical representation of the claustrophobic, everyone in everyone else’s business that is the family dynamic—especially potent among this group of 20-somethings, who are in the midst of establishing their own lives and identities while they navigate parental, cultural and religious expectations.

We first meet Jonah, lounging on a double air mattress in his dress shirt, boxers and yarmulke, playing video games. The brothers’ cousin Daphna (Rebecca Applebaum) has been staying with him on the pull-out couch. It’s just after the funeral and there is a quiet, exhausted atmosphere as Daphna hangs up their clothes and attempts conversation. She’s pissed that Liam missed the funeral; he was in Aspen with his girlfriend, lost his phone and didn’t get the message in time, and is due that night, girlfriend in tow. There’s something of their grandfather’s that Daphna desperately wants; a precious family heirloom, a piece of jewellery given to their grandfather by his father and kept safely hidden during the Holocaust. She wants Jonah’s blessing; he doesn’t want it, but he’s unwilling to take sides and wants nothing to do with the decision.

When Liam arrives with his non-Jewish girlfriend Melody (Julia Vally), Jonah learns that not only does Liam want the treasured family heirloom, he’s already got it. Both Daphna and Liam have very good reasons for wanting the necklace; and both have very different approaches and perceptions toward their family’s Jewish traditions and faith. Coupled with perceptions of entitlement, family loyalty and being a ‘good’ Jew, things get ugly between them pretty fast. It’s clear these two already don’t like each other and the battle over their grandfather’s jewelry is steeped in long-term, ongoing resentment. Melody tries to act as mediator, but ultimately can’t break through—no wonder, as she’s just been introduced to the family and has no idea about the history behind the verbal savagery she’s witnessing. In the end, we’re left with just Jonah and Daphna again—only now, the tone and atmosphere of their conversation is quite different. And further revelations emerge after the cathartic blow-out.

Lovely work from the cast in this claustrophobic and caustic dark comedy. As director Lonsdale-Smith pointed out during the post-show talkback, anger is motivated by fear; the fear of letting people go, death, identity, how we may take a different path from our parents—and these characters are angry. Krantz does a beautiful job with the soft-spoken, mild-mannered Jonah’s complexity and inner conflict. Jonah gives the impression of being checked out and disinterested, and perhaps even not as smart as his older brother and cousin, but he’s aware and listening—and he feels things more deeply than you might think as he struggles with his grief. Applebaum, who identifies as mixed race (half Asian, raised Jewish), used her lived experience to bring scope to her laser-focused performance as the sharply intellectual, self-righteous Daphna. A super observant Jew, and a Vassar student bound for Israel, rabbinical school and the army, Daphna is always looking for a debate, if not an outright fight. Constantly on the lookout for fault in others, Daphna’s devotion is of the holier than thou, selectively fundamentalist variety—but much of this is a shield for a deeply wounded, lonely soul.

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Rebecca Applebaum, Julia Vally & Kristopher Turner in Bad Jews—photo by Dahlia Katz

Turner brings a ferocity and intellectual vigour to Liam, who’s chosen a more secular path and even changed his name. The eldest son of a well-off family, there’s more than a whiff of entitlement about Liam, and his anger is vicious when it erupts; however, his wish to mirror a gift their grandfather made to their grandmother reveals the depth of his love and appreciation for family and for Melody. Vally gives a great sense of firmness and strength to the sweet-natured, genuinely good Melody. A former opera student who loves music, but in the end decided that career path wasn’t for her, Melody is an administrator at a non-profit organization—helping others is in her blood, but she can’t seem to help Liam’s family issue. How could she?

Ultimately, as Turner mentioned toward the end of the talkback, this is a play about family—the history, the love, and intellectual and emotional dynamic that twists and turns across generations and through time. And nothing brings out the good, bad and the ugly like family, especially during meaningful, emotionally fraught family gatherings.

Family legacy, identity and repressed anger released in the sharply funny, biting Bad Jews.

Bad Jews continues in the Small World Music Centre at Artscape Youngplace until June 4; get your advance tix online via the show page or through Eventbrite. Advance booking recommended; it’s an intimate venue, fitting with the cramped space of an NYC studio apartment.