Toronto Fringe: Trippy good times as philosophy meets stand-up meets storytelling in Graham Clark’s Not Here

Graham Clark returns to Toronto Fringe—or does he?—with Graham Clark’s Not Here, running in the Theatre Passe Muraille (TPM) Backspace.

Speaking to us via video from a small monitor mounted in front of a masked “surrogate” performer’s face, Clark gives a multimedia talking head performance—and the surrogate provides accompanying posture and hand gestures.

Going from riffs on parking at home in front of our screens, especially on Netflix, Clark shifts to the more up close and personal experience of travelling to his girlfriend’s hometown to arrange her father’s funeral over the Christmas holiday. Weaving death, family and small-town Alberta into the storytelling, Clark’s storytelling reveals a gift for sharp observation and a quirky sense of curiosity, making for a funny and at times poignant ride.

Trippy good times as philosophy meets stand-up meets storytelling in Graham Clark’s Not Here.

Graham Clark’s Not Here continues in the TPM Backspace until July 15; book in advance for this one, guys-last night was sold out. Book online on the showpage or get to the TPM box office early.

Toronto Fringe: Love, joy & taming dragons in the funny, frank, moving The Clergy Project

A rabbi, a minister and a priest walk into a theatre…

Happy Fringe, guys! I started my Toronto Fringe adventures with the opening of Soulo Theatre’s production of The Clergy Project, directed by Tracey Erin Smith, which played to a sold-out house and a standing ovation last night at First Narayever Congregation.

It’s no secret that I love this show; I’ve seen two previous incarnations, most recently in November 2016 at Revival. For Fringe, the show has a BYOV arrangement—and the show sold out its entire run before it even opened!

City Shul Rabbi Elyse Goldstein, First Unitarian Congregation minister Reverend Shawn Newton and Anglican priest Reverend Daniel Brereton took Tracey’s Soulo Theatre solo show workshop—in a class specifically designed to create a space for members of the clergy to tell their stories. Realizing they had much in common despite their different titles and faith backgrounds, the three clergy took a different path from the usual solo show class presentation at the end of the workshop; The Clergy Project is the fruit of their combined labours, weaving in and out of their three individual personal stories.

From the hilarious faith-specific lightbulb jokes, to recounting the call to ministry, to sharing the challenges they face—including situations not covered in their seminary days—to their reasons for doing what they do, all three share the real-life experiences of their jobs with candor and humour. The combination of personalities makes the show:  the shit-disturbing, kick-ass Elyse; Shawn with the wry wit and a twinkle in his eye; and the cheeky, playful Daniel. The frank, funny, heartbreaking—and ultimately inspiring—storytelling reveals their shared attributes of sass, determination and empathy. And the Fringe version has an additional hysterically funny tale from Daniel about his experience directing his first Christmas pageant!

Delivered with heart, soul, humour, and a genuine desire to connect and share personal stories, The Clergy Project is less about religion and more about the humanity of those who minister—aptly illustrating what Tracey Erin Smith and Soulo Theatre are all about. Like Smith says, “Everyone has a story.”

Love, joy and taming dragons in the funny, frank, moving The Clergy Project.

The Clergy Project continues at First Narayever Congregation until July 16, with performances on July 6, 12 and 13 at 8pm, and July 9 and 16 at 4pm. The run is sold out, but if you get there early, you can get yourself on the waiting list (some folks got in last night). The 90-minute showtime includes a brief post-show talkback.

 

Grit, determination & a love affair with the speed bag in the funny, moving, inspiring Newsgirl

Savoy Howe in Newsgirl—photo by Dahlia Katz

 

Tracey Erin Smith and Soulo Theatre celebrated the 5th anniversary of the Soulo Theatre Festival, opening this year’s fest with an Opening Night Gala presentation of Savoy Howe’s Newsgirl. With direction and dramatury by Soulo Theatre A.D. Smith, Newsgirl ran for one night only at the Toronto Newsgirls Boxing Club in front of an enthusiastic, sold out house—and a standing ovation—last night. The fest continues at Red Sandcastle Theatre tonight and throughout the weekend.

When Savoy Howe moved away from her home in New Brunswick in the late 80s to study theatre in Hamilton and later move to Toronto, she had no way of foreseeing what was in store—and the journey that would bring her the sense of strength, determination and empowerment that she would go on to share with women and trans people.

This is the story of Newsgirl, Howe’s autobiographical solo show that takes her from a tomboy growing up on a Canadian Air Force base, to her coming out, to training as a boxer and later passing on her knowledge as a boxing coach, starting the first women’s and trans-friendly boxing gym in Canada: the Toronto Newsgirls Boxing Club. And, while it was a photo of a woman wearing boxing gloves that inspired Howe to take up the sport, it was a speed bag that made her fall in love with boxing.

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Savoy Howe in Newsgirl—photo by Dahlia Katz

Combining the physicality, strategy and philosophy of boxing with considerable stand-up and storytelling chops, Howe is an engaging, energetic and endearing performer. With Howe primarily telling her story from inside the boxing ring, the show is dynamically staged, moving her around the gym as she highlights discovery and work on the heavy bag and speed bag; and her rookie first entry into the ring is hilarious!

Newsgirls is a story of struggle, grit and a ‘don’t give up’ attitude that takes some rough, and sometimes violent, turns. Perseverance, a big heart and a curious, open mind—not to mention a hard-working, helping hand way of looking at life—make the wins and losses equal in value. Always learning, never backing down from a challenge, and enduring the deep-seated sexism and male aggression of this world, Howe is an inspiration. Newsgirl is a classic underdog makes good story. And it definitely packs a punch.

Grit, determination and a love affair with the speed bag in the funny, moving, inspiring Newsgirl.

Check out this great interview in VICE Sports with Savoy Howe on how she got into boxing, opened Newsgirls, and how she and the gym are empowering women and trans people. You can also follow the Toronto Newsgirls Boxing Club on Facebook.

Howe is in the process of launching a crowdfunding campaign to keep the gym alive and serving the community; stay tuned for details on how you can help.

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Soulo Theatre A.D. Tracey Erin Smith in the ring at Toronto Newsgirls Boxing Club—photo by Dahlia Katz

Newsgirl was a one-night only performance, but no worries—there are lots more life-changing, life-affirming true stories to come tonight and this weekend at the fest, which includes solo shows and panel discussions. The Soulo Theatre Festival continues at Red Sandcastle Theatre till May 28; check out the full schedule and purchase advance tickets and get your festival pass.

Department of corrections: The original post for the show mentioned that Howe studied theatre in Toronto; it was actually Hamilton. The error has been corrected.

Reclamation & salvation—stories of Black women’s lives told with candor, sass & humour in powerful, theatrical for colored girls

Karen Glave, d’bi.young anitafrika, Ordena Stephens-Thompson, Akosua Amo-Adem, Evangelia Kambites, Tamara Brown & SATE in for colored girls—photo by Cylla von Tiedemann

 

Soulpepper opened its production of Ntozake Shange’s for colored girls who have committed suicide / when the rainbow is enuf, directed by Djanet Sears with assistance from Mumbi Tindyebwa Otu, to a packed house and a triple curtain call standing ovation at the Young Centre last night.

From the innocent, playful childhood world of hopscotch and double dutch in the playground, to sexual awakening and the discovery of sensual power in young adulthood, to the harsh realities and challenges of life as a Black woman, for colored girls is poetry and politics in motion. Incorporating spoken word, a cappella vocals, dance and storytelling, the excellent ensemble creates scenes, moments and soundscapes. The result is startling, theatrical, hilarious and heartbreaking.

Kudos to the ensemble: Akosua Amo-Adem, d’bi.young anitafrika, Tamara Brown, Karen Glave, Evangelia Kambites, SATE and Ordena Stephens-Thompson. With choreography by Jasmyn Fyffe and Vivine Scarlett, and music composition and arrangement by Suba Sankaran, the cast deftly weaves the stories of these women with honesty, courage and emotional impact—commanding the stage as they engage, entertain and wake us.

Brown’s opening dance is magical and elemental. Glave takes us back to the excitement and anticipation of graduation day with a tale of young love in the back seat. SATE takes charge and takes us out dancing; a woman enjoying the music and the power of her own body in motion. Stephens-Thompson regales us with a poetic, sensual account of woman (Kambites) who attracts with the mystery and allure of an Egyptian goddess. Amo-Adem takes us to church with a proclamation of what belongs to her, coupled with an order to get back what’s been stolen. And anitafrika breaks our hearts as a mother struggling to protect her children.

Highlighting the lived experiences of public and private selves—the public strength and confidence that protect the private vulnerability and fear—from hope and joy to loss and despair, for colored girls is a celebration of Black women finding their voices.

Reclamation and salvation—stories of Black women’s lives told with candor, sass and humour in the powerful, theatrical for colored girls.

for colored girls continues in the Baillie Theatre at the Young Centre; get your advance tix online or by calling the box office at 416-866-8666.

In the meantime, check out the for colored girls teaser:

 

Big surprise romantic gestures, coming together & falling apart in the endearing, fragile, funny I’m Doing This For You

Haley McGee in I’m Doing This For You—photo by Matthew Peberdy

 

She’s gone to great lengths to set up a surprise birthday party for the man she loves, an aspiring standup comic. We’re all invited to the festivities—and we’re going to be his audience.

Soulpepper closes its Solo Series with Haley McGee’s I’m Doing This For You, directed by Mitchell Cushman; the show opened to a packed house at the Young Centre in Toronto’s Distillery District last night.

Combining storytelling, improv and performance art, McGee gets us from the get go. Dressed in a bright orange vintage dress and wearing a bleach blonde wig, she’s a woman on a mission. She’s invited us to the theatre to celebrate her man’s birthday—and be his first major standup audience. Checking in with stage manager Robin (Munro), and making the rounds to ensure that everyone’s had their shot of vodka, she’s a flurry of super planning activity. And as we sit waiting in the dark for his arrival, she explains what will happen and we get ourselves ready to welcome him.

He’s running late, so the lights come up and we get some history. Her ever alert ear on the door, pricked by any possible sound of entry, she tells us how this engineer/amateur comic caught her attention. He made her laugh. And she really needed that. She finds it difficult to commit and—navigating emotional highs and lows on medication—we hear about how she made herself fit into the relationship so she could keep it.

Of course, things went astray. When he finally does arrive (the ex-boyfriend is played by a different actor each night), things don’t go exactly as planned—and even fantasy can betray. But there’s mini-cupcakes.

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Haley McGee in I’m Doing This For You—photo by Matthew Peberdy

McGee is a powerhouse of storytelling and entertainment, connecting with us in this immersive space. Conveying focus that shifts from razor sharp to scattered, a fragile psyche, and an endless capacity to feel hope and despair, she gives a quirky, genuine performance that is both entertaining and poignant. Touching on issues of relationships, mental health and obsession, I’m Doing This For You highlights the difference between needing and wanting a romantic partnership, and how we can be really attracted to something about someone even when we’re not that into them. And the crazy things we all do to maintain or avoid intimacy, and the regrets and after thoughts that go through our minds when it’s over. This woman is a super kooky, fun gal who’s seriously derailed herself—and we really come to care about her during this 65-minute journey.

With shouts to lighting/set/props designer Shannon Lea Doyle for the trippy performance art set, full of white and transparent balloons. Combined with McGee’s retro costume, the design is a flashback to Rowan and Martin’s Laugh-In (for those of us old enough to remember that sketch comedy show).

Big surprise romantic gestures, coming together and falling apart in the endearing, fragile, funny I’m Doing This For You.

I’m Doing This For You continues in the Michael Young Theatre in the Young Centre till this Saturday (May 6); this show is for adults aged 19+ (proof of age required) and booking in advance is strongly recommended. Get your advance tix online or by calling the box office at 416-866-8666.

Catch a sneak peek at I’m Doing This For You:

 

 

Rich tapestry of image, sound & dance tells a powerful story without words in remarkable Century Song

Neema Bickersteth in Century Song—photos by John Lauener

 

Nightwood Theatre partners with Volcano, Richard Jordan Productions UK and Moveable Beast Collective to present Century Song, opening last night in the Guloien Theatre at Crow’s Theatre’s home at Streetcar Crowsnest.

Created by soprano/performer Neema Bickersteth, choreographer Kate Alton and director Ross Manson, the multimedia, multidisciplinary Century Song tells the stories of women throughout the past hundred years, incorporating the music of composers Sergei Rachmaninoff, Olivier Messiaen, John Cage, Georges Aperghis and Toronto’s Reza Jacobs; and including accompaniment by Gregory Oh (piano) and Ben Grossman (percussion, computer). The show also includes stunning projected images—black and white, and colour portraits, visual art pieces, and evocative landscapes, cityscapes and environments—projection design by Torge Møller and Momme Hinrichs from Germany’s fettFilm; and featuring the works of numerous photographers and artists.

This is a show unlike any I’ve ever seen—and I’ve seen a lot of theatre—so how can I describe to you this beautifully moving, powerful and innovative piece of storytelling that is really best experienced on an emotional and visceral level, as opposed to a cerebral level (though it does leave you with plenty to think about).

Opening in 1915 with Rachmaninoff’s Vocalise, we see a woman corseted and engaged in repetitive action, evoking housework and an agricultural setting. Moving into the 1920s/1930s, she is now clad in a sleek golden gown, placed in a magical forest—the setting, sound and imagery changing as time shifts into the 1930s and 1940s, with increasingly intense and horrific renderings of social and economic upheaval, and the devastation of war.

Century_Song_7With projections covering both the back wall and floor, the zooming in on images provides the illusion of movement. This technical aspect takes on a playful effect as we journey from the 1950s through 1978, where we see multiple Bickersteths as a variety of characters in various living room settings. And it’s particularly cool when she returns to the stage, joining her projected, life-size selves.

The landscape gets intense again, as we’re whisked up a skyscraper and onto the roof where we see a vast, endless cityscape before us. It’s dark and stormy. Now dressed in a business skirt suit, she is caught up in a frenzy of chaos and speed—overwhelmed by the pace and bleakness of it all.

Century_Song_6Returning to a quiet moment, Bickersteth closes with Vocalise for Neema by Reza Jacobs, a piece commissioned specifically for Century Song; with a haunting, yet soothing, lullaby quality that shifts into bluesy and playful tones, it promises to bring some to tears as we return to the safe confines of the theatre space in the present time.

Bickersteth is a wonder up there, bringing a powerhouse performance that combines operatic vocals and dance. Taut and precise, flexible and present, her work is masterfully fluid and evocative as she travels through time and space—presenting the lives of these women, with all their joys, fears, challenges, successes and expectations as they play out their roles.

With shouts to the design team: Camilla Koo (set), Rebecca Picherack (lighting) and Charlotte Dean (costumes).

A rich tapestry of image, sound and dance tells a powerful story without words in remarkable Century Song.

Century Song continues at Streetcar Crowsnest until April 29; advance tickets available online. Get out to see it—this is theatre like you’ve never seen.

Department of Corrections: The original post contained a typo in director Ross Manson’s surname; that has since been corrected.

Speaking truth to power in raw, real, fierce & funny Sound of the Beast

Tamyka Bullen (onscreen) & Donna-Michelle St. Bernard in Sound of the Beast—photo by Michael Cooper

 

Hear ye, hear ye

let it be known,

No one on my block walks alone.

 

Theatre Passe Muraille (TPM) closes its 2016-17 season with Donna-Michelle St. Bernard’s (aka Belladonna the Blest) Sound of the Beast, co-directed by Andy McKim and Jivesh Parasram, with ASL components by Tamyka Bullen, and featuring composition and sound design by David Mesiha. Sound of the Beast opened in the TPM Backspace last night.

Inspired by the story of Tunisian rapper Weld El 15, whose artistic freedom of speech was muzzled by police and government, and part of St. Bernard’s 54ology (her commitment to create a performance piece from each country in Africa), Sound of the Beast combines rap and spoken word with lived experiences for an up-close, profoundly personal and resonant performance. Complementing St. Bernard’s storytelling is a projected performance of Tamyka Bullen’s poetry, performed in ASL with English surtitles (projection design by Cameron Davis). And a series of radio voice-overs (Glyn Bowerman), updating us on news of an “incident” in a “priority neighbourhood,” provide a bleak commentary on the clueless, one-sided and white-washed view of mainstream media.

Autobiographical, observational and replete with first-hand lives lived in an environment of racism, mistrust and injustice, words and stories that we may only have read or seen on the news come to life. Urgent. Shocking. In front of us. What is the most shocking is that stories of oppression and injustice are not shocking, but part of our everyday lives.

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Donna-Michelle St. Bernard in Sound of the Beast—photo by Michael Cooper

A compelling and engaging storyteller, St. Bernard shifts easily from pointed remarks and calling out prejudice, to casual and conversational moments. She puts forth hypothetical scenarios and asks us how we would respond; making us active participants as we silently think about the choices in front of us. And during two poignant and charged scenes, she speaks to her imaginary young son; guiding him on how to behave, speak and even set his facial expressions in order to stay safe out there when confronted by the authorities. At times speaking to us as friends, she takes us in and along on her journey—her research on Weld El, her personal experiences—genuine, infuriating, heartbreaking, hilarious. Shifting from a stand-up storytelling vibe, to in our faces or in emcee performance mode, St. Bernard moves through the space with ease and fluidity, with professionalism and personality. Singing and speaking with strength, emotion and moving beats, her job is to tell it—and she brings it big time.

Speaking as a Deaf woman born into a “hearing Indian-Guyanese Hindu-Christian family”—and living in a “hearing, straight Eurocentric Christian patriarchal country,” Bullen’s poetry is beautiful, moving and revealing. Highlighting the intersectionality of experiences of oppression and prejudice among the Black and Deaf communities, she points to how heavy unemployment and underemployment leave marginalized people struggling to get by in a system that “operates for so long based on ignorance and hate.” Writing of poverty, PTSD, the immigrant experience and her relationship with the earth, Bullen reminds us of the ever present need for mindfulness, awareness and compassion—and how we are all we are all born of the same Mother Earth.

Coiled on the floor and ready, the microphone is St. Bernard’s weapon and bridge; and the black hoodie she dons at the opening of her performance and sheds at the close is her storytelling cloak. If you are not black or marginalized, you can only glean so much from what you see and hear in the news about these lived experiences. Of being constantly under surveillance because of the colour of your skin and the neighbourhood you live in. Of being questioned by law enforcement for no reason. Of being misunderstood and not knowing what you’re supposed to say. Of unarmed youth being shot by police. Sound of the Beast brings it in closer. Come and hear for yourself.

Speaking truth to power in raw, real, fierce and funny Sound of the Beast.

Sound of the Beast continues in the TPM Backspace until May 7; book tickets online or call 416-504-7529. Advance booking strongly recommended—it’s a powerful show and an intimate space.