Compelling storytelling in the riveting, edgy, darkly funny Slip

Clockwise, from top: Alex Paxton-Beesley, Daniel Pagett, Mikaela Dyke & Anders Yates—photo by Alec Toller

Circlesnake Productions remounts its production of Slip, collectively written by the ensemble and directed by Alec Toller—opening in the Tarragon Theatre Workspace last night.

Walking into what appears to be a crime scene—some of us walking through it to get to the bank of seats opposite the entrance—we become immersed in Jane’s (Mikaela Dyke) apartment. Pieces torn out of books, scraps of paper, post-its litter the floor and cover the walls; and there’s a banner with a strange interlocking symbol (set by Bronwen Lily, lighting by Wesley McKenzie). Jane lies dead in the middle of the floor, red hood pulled up covering her face.

Detective Lynne (Alex Paxton-Beesley) and her partner Mark (Daniel Pagett) assess the scene as they await the arrival of medical examiner Blake (Anders Yates). Is it murder or suicide? Perfectly matched, they work at piecing together a story for this incident, playfully one-upping each other in a private, quick-paced game as each comes up with theories and trajectories.

As the detectives sift through photographs and other evidence found on the scene, we see pieces of Jane’s story played out in flashback—inspired by a photo Lynne finds on a shelf: a relationship with a young black woman, one of two people witnesses saw entering and exiting the apartment. Marina (Nicole Stamp) is Jane’s ex-girlfriend, still on friendly terms and concerned about Jane’s welfare. And we learn that the young ginger-haired man seen in the vicinity turns out to be Chris (Yates), Jane’s brother.

Meanwhile, Lynne is a subject of particular interest in a tribunal investigating an incident where she and Mark pursued a perp into a darkened alley and shots were fired. And she’s in the dog house with their boss Passader (Stamp), who expects great things from her. Brilliant and known for her remarkable instincts, Lynne has been anxious and off her game lately. And it’s not just because of the tribunal—she’s been forgetting, losing her grip on her memory and sense of time. And the investigation into Jane’s death becomes personal—maybe too personal.

Outstanding work from the cast in this tale where crime procedural meets psychological thriller meets dark comedy. Paxton-Beesley and Pagett have amazing chemistry as the two detectives; dedicated and good at their jobs, Lynne and Mark are well-matched, riffing off ideas and theories with a playful, mercurial banter and a good-natured sense of competition. Beneath the professional, hard shell exteriors are two damaged souls. Paxton-Beesley (no stranger to playing detective—Murdoch Mysteries fans will recognize her as Murdoch’s childhood friend turned private detective Winifred “Freddie” Pink) gives a compelling, heartbreaking performance of Lynne’s journey; Jane’s story hits close to home—and the dawning realization of what will it mean for a beloved career she’s dedicated her life to. And Pagett reveals the softer, conflicted side of Mark; a man struggling with alcohol and having a ‘normal’ life when he goes home from the job. Supportive and loyal to Lynne, Mark can’t help but be suspicious and concerned about her recent erratic behaviour.

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Mikaela Dyke & Nicole Stamp—photo by Alec Toller

Dyke gives a moving performance as Jane; deeply troubled, fragile and lost, Jane reaches out in an attempt to reconnect with ex Marina, but can’t bring herself to tell her what’s wrong—revealing and mysterious at the same time. Her perceptions of family are in stark contrast with that of her brother; whose version of the story is true? Stamp shows some great range as the hard-ass, domineering Passader, who has big plans for Lynne and demands she doesn’t screw it up; and the loving, kind Marina who longs to be there for Jane, but whose care and compassion can only go so far. Yates is hilarious as the wisecracking ME Blake, who doesn’t particularly enjoy his job, but game for the quick-paced, sharp-witted exchanges with Lynne and Mark. And he brings an edge of pragmatism and deep-seated pain to Jane’s brother Chris.

The immersive staging puts the audience on either side of Jane’s apartment, giving us a fly-on-the-wall’s-eye view of the proceedings. Photographs and writings become jumping off points for flashbacks, revealing new pieces of the puzzle. Memory and story weave in and out—and stories intersect and combine to a stunning and heart-wrenching revelation.

Compelling storytelling in the riveting, edgy, darkly funny Slip.

 Slip runs in the Tarragon Workspace till April 2; advance tickets available online—strongly recommended as it’s an intimate space with limited seating.

In the meantime, check out the interview with director Alec Toller on Stageworthy Podcast with host Phil Rickaby.

The power of hope & community to build a dream in the sharply funny, poignant, uplifting Superior Donuts

Photo by Shaun Benson: Robert Persichini and Nabil Rajo in Superior Donuts

Coal Mine Theatre continues its 2016-17 season with the Canadian premiere of Tracy Letts’ Superior Donuts, directed by Ted Dykstra, and opening last night to a packed house and a standing ovation at its home at 1454 Danforth Ave., Toronto.

When we first see Superior Donuts, the shop appears to have been abandoned. The shelves are empty, there’s litter strewn across the counter and floor, chairs and stools overturned, and the word “Pussy” has been spray painted in neon orange on the chalkboard green wall. As the play opens, though, we learn it’s been vandalized; and Max (Alex Poch-Goldin), who owns the neighbouring DVD store, is giving his account to police officers Randy Osteen (Darla Biccum) and James Bailey (Michael Blake) after calling it in. We also learn from Max that Superior Donuts owner Arthur (Robert Persichini) has been absent lately, and hasn’t opened the shop in a couple of days, as he mourns the loss of his ex-wife.

Arthur arrives as Max is finishing up with the police, already slow moving and numb as he takes in the damage, eventually realizing he’s missed his coffee delivery, so has no coffee to offer anyone. Left alone to tidy up, he’s roused by an insistent and persistent knock on the locked door; a kid responding to his help wanted notice. Arthur reluctantly opens the door to Franco (Nabil Rajo), a fast-talking young man with seemingly boundless energy; and after an unusual and certainly creative job interview, Franco is hired. Meanwhile, Franco has troubles of his own; bookie Luther (Ryan Hollyman) and his muscle Kevin (Jon Lachlan Stewart) pay him a visit after Kevin sees him working at the shop. Franco has a large gambling debt, and Luther is under extreme pressure from the powers that be—he wants his money now and the clock is running out for Franco.

Superior Donuts is the last of a dying breed of beloved mom and pop stores in an increasingly gentrified neighbourhood, where Starbucks and Whole Foods are popping up and challenging businesses that have been fixtures for years. It’s also an island of misfit toys, with its own cast of quirky, multicultural characters. There’s local regular Lady (Diana Leblanc), a struggling alcoholic with a love of red lipstick; and the outspoken Russian Max, who has big plans for expanding his DVD shop into an electronics empire and wants to buy the donut shop so he can fulfill his dream—these two get free coffee and donuts. We also get to know the two cops: Randy comes from a sports-loving family full of  brothers and cops, and has an eye for Arthur; and James and his wife are Star Trek fans who enjoy cosplay at fan conventions. And, while he’s largely silent with the others, Arthur speaks to us throughout in wistful, heartfelt and nostalgic monologues—personal history anecdotes filled with notes of regret.

Franco is full of ideas for improvement for Superior Donuts, from healthier menu choices to poetry and reading events. He also has ideas for improving Arthur, and sets out to be both style consultant and matchmaker. And he’s just finished writing the great American novel, written long-hand on notebooks and loose leaf over the course of seven years, an opus bound with a string. The kid is full of hope—something that Arthur has long been lacking—and as the relationship between Arthur and Franco grows, Franco’s enthusiasm becomes contagious and ideas start brewing in Arthur’s head about who they can talk to about publishing Franco’s book. He even decides to do something about Randy. Then, his despair, doubt and pessimism get the better of him—and Arthur lashes out at Franco’s youthful industry and optimism.

But when something happens to Franco, Arthur is spurred to action. Confronting Luther and Kevin, with the help of Max and his young relative Kiril (Paul Dods), Superior Donuts becomes the ground for one last fight.

Outstanding work from the cast; each a masterful storyteller as he/she speaks for his/her character. Persichini gives a profoundly moving performance as Arthur, a gentle giant who fled to Canada to evade the draft, returning to take over the family business established by his father the year he was born. Now deeply saddened by the passing of his ex-wife Magda and full of guilt at having lost touch with his daughter Joanie, his life is full of disappointment and regret, leaving him in hopelessness and despair—until Franco enters his life. Rajo is a delightful spark plug as Franco; a mercurial, smart and irreverent young man, there’s more to him than the hip, smart-ass kid he presents. A thoughtful, generous soul, his sense of hope is put to the test. Great chemistry, banter and candor in the Arthur/Franco two-handers.

Leblanc gives a lovely performance as the fragile, bird-like Lady; and the mutual love and care that Lady and Arthur have for each other are evident in some beautifully tender moments between them. Poch-Goldin is hilariously engaging as the blunt Max; he’s a go big or go home kind of guy who says what he thinks—and fiercely loyal. Biccum and Blake make a great pair as the police officer partners Randy and James. Biccum gives Randy some nice, gentle layers beneath the tomboy cop exterior; longing for something beyond her family legacy of sports and being on the job, she likes Arthur a lot but is too shy to go for it. And Blake brings an officer and a gentleman vibe to James; a good sport about the teasing from his friends and colleagues about his love of Star Trek, he’s a genuinely good man, out to serve and protect.

Hollyman brings a great edge of desperation and ruthlessness to Luther; Stewart’s Kevin is classic bad boy from the hood; and Dods is impressive as the ripped Kiril, a newly arrived immigrant with little English and a sweet soul under those abundant muscles.

The power of hope and community to build a dream in the sharply funny, poignant, uplifting Superior Donuts.

Superior Donuts continues to February 26; drop by the Coal Mine Theatre website for ticket info or purchase tickets directly online. Book in advance for this one folks—it’s an incredible show and an intimate venue with general seating. Please note the 7:30pm curtain time for evening performances; box office opens at 6:45pm.

Keep up with Coal Mine Theatre on Twitter and Facebook.

Beliefs, perceptions & connections in the intimate, otherworldly John

Photo by Dahlia Katz: Nora McLellan, Loretta Yu, Phillip Riccio & Nancy Beatty in John

 

Everybody knows someone named John.

The Company Theatre tells a compelling story with its Canadian premiere of Annie Baker’s John, directed by Jonathan Goad in his directorial debut, running at Canadian Stage’s Berkeley Street Upstairs Theatre.

Entering the space, we find the set enclosed in a semi-circle with red curtains, and it’s not until Mertis (aka Kitty) (Nancy Beatty) enters to draw the curtains are we able to take it in. The revealed space is the common living room and dining area of Mertis’s B&B in Gettysburg—and we become immediately immersed in this world, almost out of time and space.

Knick knacks, dolls, stuffed animals and all manner of chachkas fill the space. Antique dolls, a miniature village, angel and animal statuettes, and the like line the shelves and tables, along with a number of lamps. Prints, and even cookie tins, adorn the walls. In the corner near the front door is a Christmas tree, covered in lights, but without decorations or a star. Twinkly lights glow throughout the two rooms; and an Eiffel Tower sits on one of the small café tables in the dining area.

Throughout the course of the action, Mertis advances the hands on the grandfather clock, as night turns into day and into night again as the days go by. Classical music plays on the miniature jukebox that sits on top of the upright piano, also operated by Mertis, who also closes and opens the curtains surrounding the space at the close and start of each act. We’re being let into this world, but on condition.

Young couple Elias (Philip Riccio) and Jenny (Loretta Yu) arrive at the B&B later than expected that night, receiving a warm welcome from Mertis, who gives them a tour. They’re surprised when the room they booked isn’t available, and their host seems edgy and vague about some leak issue, but they happily accept the upgrade to another room at no extra charge.

As the scenes unfold, we witness increasing tension between Elias and Jenny, and we learn that they’re not just on this trip to take in Gettysburg’s history and points of interest. They’re trying to fix their broken relationship. Jenny is receiving a lot of texts, which she says are from her sister, but Elias is skeptical to the point of obsessed suspicion about their true origin.

There is something strange and almost unreal about the B&B and its host. Mertis seems a quiet and introverted, but eccentric, soul; with a fondness for knick knackery, she has an ethereal, spiritual vibe about her. More than meets the eye, we find out that she has a husband, George, who we never see. Married for 13 years, it’s her second marriage.

Added to the mix is Mertis’s friend Genevieve (Nora McLellan); blind, with a gravelly voice and gruff manner. She too was married once, but left her husband in the mid-60s only to find he’d followed her and taken over her soul. Concerned she was losing her grip on reality, she checked herself into a mental institution.

Fears and sources of dread emerge as the characters share personal anecdotes. Elias has a phobia of birds. Jenny grew up thinking her dolls and stuffed animals were sentient beings—and one doll in particular haunts her memory. Even the B&B has an edge; the chachkas seeming to be watching from the dark at night, and the Christmas tree lights keep going off inexplicably. Mertis believes that the house, which served as a Union army hospital during the Civil War, has a personality of its own—and that certain rooms can be temperamental. And the second floor always seems to be cold, which makes you wonder.

Mental illness, reality and relationships are called into question—nothing is as it seems. Who or what is watching; and who is being watched? Baker leaves it to us to decide what’s real, what’s true and what’s going on.

Marvellous work from this four-hander cast. Beatty gives the soft-spoken Mertis a lovely, eerie edge. One gets the impression that the Christmas tree could be up all year round. What’s with that journal Mertis keeps? And what’s going on with George? At one point, you’re wondering if he actually exists. McLellan’s Genevieve is a delightful puzzle of kookiness, sharp observation and loving friend; at one point, she sounds like a paranoid schizophrenic—but then you think, if you think someone’s out to get you, it might actually be true. Like Mertis drawing the curtains and turning the clock, Genevieve draws us into this world—and is the only character that speaks to us directly.

Riccio’s Elias is a complex combination of uptight and neurotic, wounded and longing. At first, you think he’s being paranoid about Jenny’s communications; but as the play unfolds, you begin to wonder if he’s right to suspect. And Yu’s Jenny reveals a darker edge under that adorably spontaneous, child-like exterior. Struggling to understand where Elias is coming from, she feels abandoned and is possibly acting out as a result. Which are the lies and which are the truths? And is her anxiety about her dolls and toys the result of a guilty conscience?

Whether its origins lie in religion, family and relationship history, or a perceived connection with the universe, for each character, there’s a belief in an unseen presence watching, directing—in some cases, taking over, rewarding and punishing.

With big shouts to the design team: Shannon Lea Doyle (set/costumes), Kevin Lamotte (lighting) and Michael Laird (sound) for their outstanding work on creating this strange and spooky world.

Beliefs, perceptions and connections in the intimate, otherworldly John.

John continues at the Berkeley Street Upstairs Theatre until February 19; online tickets and info here. Go see this.

Taking a trip to the other side of Menopause Mountain & giving no f*cks in the hilarious, frank & inspiring The Big ‘What Now?’

Ever wonder what the view was like on the other side of menopause? Or perhaps you’re already there and you need to hear from someone who gets it. Everything but the Kitchens Inc. invites you to join Sandra Shamas and The Big ‘What Now?’, running at the Fleck Dance Theatre, Harbourfront Centre.

Through anecdotes, and thoughtful, sharply funny riffs and musings, Shamas takes us on a personal history tour of life after 50. Having made it to the top of Menopause Mountain—and leaving alcohol, caffeine and memory behind—Shamas enjoys and explores the brave new world of post-menopause as she tears down the assumptions and expectations that render invisible women ‘of a certain age.’ There’s a new sense of clarity, relief and release as menopause burnishes and tempers to an authentic self—and the sheer joy of giving no f*cks.

The storytelling is hilariously entertaining, fierce and fiery at times, and empowering. Self-deprecation blends with cockiness as she revels in being able to bypass the feminine protection aisle at the drug store only to notice the adult diapers at the end of that aisle. Thanks to a strength of will, and not taking “No” or “That’s just the way it is” for an answer, Shamas displays pioneering spirit and grit at her farm house home during bathtub shitmageddon and the 2013 ice storm, as she relates of how she had to dig to find the septic tank, and chop wood for heat and cooking. And was reminded of the beauty of everyday things we take for granted like electricity and a shower—and experiences the depths of gratitude when these became available again. Wrapping the first half, she tells us: she may have been without electricity, but she wasn’t without power.

Pondering issues of identity—and what that looks like after 50—Shamas relates a childhood in a conservative, traditional family where, as a girl, the only thing she was expected to be was good; and how a life-changing trip to the theatre to see Lily Tomlin perform her one-woman show set her on this path of sharing and storytelling. Shows that are snapshots of life at each stage, as she is and what she’s experiencing—and not from some brochure at a checkout counter. Covering topics from retirement, to sexuality, to dating on Tinder and OkCupid, Shamas is frank, unapologetic, genuine and laugh out loud funny.

Finishing with a reflection on all the late bloomer moments in her life, she also considers how, as a farmer who grows food for herself and others, she’s come to learn that seeds will only grow under specific conditions. Everything in its good time, under the right circumstances; so there really are no late bloomers. A reminder that we can all be our authentic selves—and we don’t necessarily have to wait for ‘the change’ to get there.

Taking a trip to the other side of Menopause Mountain and giving no f*cks in the hilarious, frank and inspiring The Big ‘What Now?’

The Big ‘What Now?’ continues at the Fleck Dance Theatre—good news, it’s been held over an extra week until February 19; get your advance tix online. This is an extremely popular show and place was packed last night, so advance booking is strongly recommended.

In the meantime, check out Shamas’s CBC Radio Q interview with host Tom Power and give her a follow on the Twitter.

Photo by Mark Jewusiak.

Rough & rowdy, it’s all guts & no glory in the funny, poignant, political The Gut Girls

They’re an unruly, foul-mouthed, hard-working, hard-drinking bunch ‘a gals—and their world is about to be turned upside down.

Alumnae Theatre starts off the New Year with its production of Sarah Daniels’ The Gut Girls, directed by Maya Rabinovitch. The Gut Girls is part of Alumnae’s Retrospective Series, leading up to its 100th anniversary next season.

The Gut Girls takes us to 1901, where the “gut girls” work in a gutting shed in the Foreign Cattle Market in Deptford, England. Paid good money, but working punishing hours in a foul environment—often up to their ankles in blood—it’s an offal job, but somebody’s got to do it.

Gut girls Polly (Alexandra Augustine), Ellen (Sarah Thorpe), Maggie (Kaya Bucholc) and Kate (Tasia Loeffler-Vulpe) take new girl Annie (Claire Keating) under their wing. Formerly in service, Annie found herself pregnant and fired, now living in a home for wayward women since the birth of her stillborn child—and finds friends, support and some new digs as she learns the ropes in the shed.

Enter do-gooder Lady Helena (Nicole Arends) with her friend Lord Edwin (Brendan O’Reilly) in tow. A self-appointed crusader for the downtrodden, especially working class women toiling in harsh conditions, she is instrumental in running a women’s club that teaches domestic skills and lady-like manners so women can transition into service. Through her friend Arthur (Mike Hogan), Lady Helena brokers an arrangement for the girls to be let off work an hour early on Thursdays, and garners the assistance of Arthur’s painfully shy wife Priscilla (Thorpe) to coax the girls to come to the club.

Hilarious times ensue, revealing class divisions and presumptions, as Lady Helena and Priscilla attempt to tame this wild group of young women. And when they learn that the sheds are to be shut down, their timing for training the women becomes all the more urgent—the gut girls are unemployable without new skills and ‘proper’ manners to recommend them. And the so-called gentlemen Edwin and Arthur prove to be not as gentlemanly as they appear, causing Maggie to quit the club and Priscilla to go on sick leave.

Struggling to learn new skills and find jobs, and with few prospects beyond the factories, pubs, service or the street, the gut girls have to take what they can get—and that means giving up their independence, dreams and even hope, in order to survive. Grimly circumspect about their situation, they’ve got the lady balls to take it, even though their hearts and spirits are broken.

Really lovely work from the ensemble, which shifts adeptly from comedy to drama throughout this compelling—not to mention timely—story. Augustine’s Polly is the roughest, toughest, biggest tomboy of the gang; she’s also a great jokester with a big heart. Thorpe (doing double duty as actor and co-producer) gives a strong, impassioned performance as Ellen, who tirelessly attempts to spread awareness of workers’ rights and the benefits of unionizing; as Priscilla, she blossoms from mousy wallflower to a caring and assertive mentor—a transformation that is quickly, and sadly, nipped in the bud by her bullying husband. Bucholc’s Maggie, like Polly, has a big heart under that devil-may-care attitude; a gut girl veteran, she’s supporting her mum and umpteen siblings—and must make a hard choice in order to keep life and limb together.

Loeffler-Vulpe’s Kate is a cheeky delight; one of the youngest gut girls, she’s an optimistic realist as she dreams big dreams and longs for a better life with her boyfriend Jim (O’Reilly). As new kid Annie, Keating gives us our introduction to the sights and smells of the gutting shed; formerly in a relatively comfortable job in service, Annie has first-hand experience of where ungentlemanly behaviour can put a young working class woman.

Arends is a formidable Lady Helena; on a single-minded mission to tame these rowdy young things into respectable young ladies, her lack of understanding and conditional respect for these women have unexpected, serious consequences. You know what they say about the road to hell. O’Reilly goes from clown to villain as Lord Edwin; a love-sick puppy following Lady Helena about, he turns his unwanted attentions to Maggie in a more forceful manner—with dire results for her. And he gives a sweet turn as Kate’s boyfriend Jim, who dreams of owning a toy shop. Hogan is an especially busy actor, playing four characters; notably the gruff gutting shed foreman Harry, barkeep Len (who has an eye on Maggie), and Priscilla’s controlling, devious husband Arthur.

With big shouts to the design team: Marysia Bucholc for the evocative, textured set (featuring scrubbed blood stains); Wendel Wray for the period costumes (especially the hats!); and Julie Skene for the entertaining period music (ranging from vaudeville to Scott Joplin).

Rough and rowdy, it’s all guts and no glory in the funny, poignant, political The Gut Girls.

The Gut Girls continues on the Alumnae Mainstage till February 4; for ticket info and online purchases, visit their website.

Special pre-show event in the lobby Jan 21 @ 6:45 pm: Prior to tonight’s performance, writer/performer and producer of the storytelling show Storystar Erin Rogers leads a group of storytellers as they relate tales of women’s and workers’ rights. Participants include Toronto-based writer, activist and social agitator Anne Thériault; United Church minister Evan Smith; and Seneca College and Second City storytelling instructor Sage Tyrtle.

Special pre-show event in the lobby Jan 26 @ 6:45 pm: President of United Steelworkers Local 8300 and the Steelworkers Toronto Area Council Carolyn Egan speaks about the rise of the labour movement and its impact on women in the workforce.

Photo by Ashley Elliot: Back – Nicole Arends. Front – Kaya Bucholc, Sarah Thorpe, Alexandra Augustine, Tasia Loeffler-Vulpe & Claire Keating

A delightful, insightful evening with Oscar in the witty, thoughtful Introducing Mr. Wilde, or Work is the Curse of the Drinking Class

Red Sandcastle Theatre A.D. Rosemary Doyle has teamed up with Jennifer Watson and Dorian Hart to launch The Wilde Festival, which opened with its inaugural production of Neil Titley’s one-man show Introducing Mr. Wilde, or Work is the Curse of the Drinking Class at Red Sandcastle’s storefront space at Queen St. East and Logan, Toronto last week.

Hart sets the tone for Titley’s intimate performance with a pre-show selection of beautiful nocturnes by Irish composer/pianist John Field, who invented the Nocturne. Field’s work served as an inspiration for Frederic Chopin’s compositions—and Chopin was a favourite of Wilde’s.

Introducing Mr. Wilde is performed in three parts. When Titley first appears onstage, it is as himself—in affable, accessible lecturer mode. Engaging and entertaining, he offers up a brief history of the show—which has been performed all over the world and to great acclaim at the Edinburgh Festival—and a quick timeline overview of Wilde’s life. In particular, we track Wilde’s 1882 lecture tour to Toronto; and Titley found the only venue still standing, not demolished or destroyed by fire, is Niagara Falls. And Wilde was apparently unimpressed by the great wonder of nature. Perhaps he only saw the American side.

Then, something truly remarkable happens. Titley transports us to 1898, to a Paris café where he shifts from himself as 2017 lecturer to Oscar Wilde, a year after he was released from his two-year prison sentence. The transformation is remarkable, both physically and vocally. As Wilde, he regales us with thoughts and anecdotes—with razor sharp wit, charm, unapologetic irreverence, and disdain for the mediocre and disingenuous. It’s not all fun and satire, though. There is an impassioned, deeply moving account of his experience in jail; and combined with that keen observation and ability to poke fun at society, it makes for a lovely nuanced, mercurial and poignant performance. Titley masterfully evokes the energy of Wilde; so much so, you can feel you’re sitting in the room with him.

Through it all, even when times are at their roughest, we see a man intent on pursuing a life of pleasure, art and beauty. Sucking the marrow out of life, even in his final days of penury and failing health, Wilde is the soul of wit to the end—a man who made the most of his life until his death at 46 in a Paris hotel.

We then return to 2017 to a short Q&A with Titley, during which one audience member asked if it was true that Wilde’s final words were “One of us has to go,” referring to the wallpaper in his hotel room. It’s highly likely. However, there is some question about his death bed conversion to Catholicism; it’s possible that his gesture in response to Ross’s query to bring a priest was misinterpreted—and he wasn’t signaling affirmation, but rather reaching for a cigarette. So his conversion could have been entirely accidental.

This is a must for all Oscar Wilde fans—or even if you’re just curious about the man. Whether you know a lot or nothing about him, it’s an entertaining and informative ride. I hear Titley is heading out on a cross-country train trip next week. If VIA Rail is smart, they’ll let him perform the show on the train.

A delightful, insightful evening with Oscar in lecture and first-person musings in the witty, thoughtful Introducing Mr. Wilde, or Work is the Curse of the Drinking Class.

Introducing Mr. Wilde, or Work is the Curse of the Drinking Class continues at Red Sandcastle until Jan 15; reserve your spot in advance by emailing redsandcastletheatre@gmail.com or by calling 416-845-9411.

Keep an eye out for future Wilde Festival productions; the website is under construction (look out for it at thewildefestival.com). In the meantime, check out this interview with Doyle about the The Wilde Festival in Xtra.

Photo: Neil Titley – by Jennifer Watson.

NSTF: Story time for grown-ups with three solo tales—and one is a big fat lie—in the funny, frank Two Truths & a Lie

Pressgang Theatre serves up some storytelling meets game show fun with Two Truths and a Lie, created by and featuring Graham Isador, Helder Brum and Rhiannon Archer, and directed by Tom Arthur Davis. The action is happening at the Toronto Fringe Next Stage Theatre Festival (NSTF), upstairs in the Factory Theatre Antechamber.

Think you’re good at spotting a tall tale that’s way too unbelievable to be true? Test your skills and enjoy some good times as Archer, Brum and Isador share personal anecdotes. Two of them are telling the truth and one is lying to your face.

Over the course of 30 minutes, each storyteller serves up a hilarious, supposedly true, story of determination, patience and heartache. Each performer has a distinct presence and delivery style. Archer is a high-energy delight and an unapologetically ambitious firecracker in her story. Brum is endearingly self-deprecating and hilariously frank as he takes us on his journey. And Isador has a wry, introspective, edgy energy as he delivers his personal tale of experience and growth. And one lucky audience member has a chance to win a prize if he/she can determine who’s lying.

Storyteller Jillian Welsh will be joining the gang at the end of the run, on Jan 13-15.

Story time for grown-ups with three solo tales—and one is a big fat lie—in the funny, frank Two Truths and a Lie.

Two Truths and a Lie continues in the Factory Theatre Antechamber until Jan 15. Get your advance tix and passes online; and check out the full NSTF schedule.

Photo: Graham Isador – by Tanja-Tiziana