Lawyer Bernadette (Ruth Goodwin) and composer Oliver (James Graham)—young, in love, living together—must navigate their burgeoning relationship through a new 140-words/day law.
What will they say? How will they say it? Do words reveal or do they get in the way?
Weaving in and out of time and space, and featuring a meet cute and sharp, compelling performances, there’s lovely chemistry here. Goodwin’s Bernadette is delightfully neurotic and fastidious workaholic; Graham’s Oliver is laid back, creative and socially aware. Opposites attract, repel and complement.
Lovers navigate a 140-word day world in the provocative, intimate and sharply funny Lemons Lemons Lemons Lemons Lemons.
The play opens with Justine (Genevieve Adam) laughing at a reality TV show about morbidly obese people and their bizarre weight loss experience, while her teenage daughter Lucy (Kyla Young) scrubs what appears to be blood off a white towel. And then they’re off—on the run (again) to a safe house hosted by David (Luis Fernandes). Lucy finds a friend in fellow social misfit Quinn (Warren Kang) at her new school, where she’s now using the name Tiffany. Meanwhile, scientist Charlotte (Madryn McCabe) has been monitoring David and “list kid” Quinn.
As the play unfolds, we learn that this is a world in which science and medicine conduct pre-emptive profiling to weed out violent offenders and criminals. What really goes on at the facility where Charlotte works? And are Lucy and Quinn dangerous?
Strong, compelling work from the entire cast. Adam is delightfully crass and sassy as the outspoken Justine; and there’s great mother/daughter chemistry between her and Young’s sullen feisty Lucy, who tends to have an unsettling gaze. Fernandes is very still waters run deep as the soft-spoken David, who’s struggling with demons of his own; and McCabe is adorably quirky as the chipper science geek Charlotte. And Kang brings a genuine, awkward and sharp-witted vibe to Quinn. There’s more than meets the eye to all of these characters; and the ensemble does a lovely job mining those layers.
In a world of pre-emptive profiling, a mother goes on the run to keep her daughter safe in the chilling sci-fi thriller Recall.
This production has already been garnering some well-deserved buzz. Not only does Prince Hamlet make the Shakespeare classic accessible for Deaf audiences, it addresses issues of diversity and inclusion in casting, particularly for the largely white, male, Eurocentric, and hearing, classics. Jain’s text adeptly shifts scenes (Horatio’s speech to Fortinbras, usually seen at the end of the play, is used as an introduction, with Horatio addressing the audience), and effectively interweaves scenes of action with those of corresponding exposition (Horatio and the guards encountering/reporting of the ghost, as well as moments/reports of Hamlet’s erratic behaviour) in an engaging and theatrical way. We also see scenes from different perspectives—and it’s all performed by an outstanding ensemble of actors, with female actors taking on a number of male roles and a male actor playing Ophelia.
The program provides a handy synopsis of the play, which I will not replay here; if you need a refresher or you’re new to Hamlet, you can also check out the Wikipedia page. What is remarkable about this production is that Horatio (played by Deaf actor Dawn Jani Birley) is featured prominently; our narrator, he is both witness to and interpreter of (signing much of the text) Hamlet’s (Christine Horne) story. ASL is incorporated into the dialogue in a seamless, inclusive way that reveals relationships, in that Horatio is understood by Hamlet when he signs, and Hamlet communicates with him in both English and ASL. In many respects, the story is told from Horatio’s point of view—culminating in that fateful final scene where the dead outnumber the living and, one of the few still standing, Horatio bids a tearful farewell to his friend.
Joining Birley and Horne for this journey of revenge, reflections on mortality and tragedy are Miriam Fernandes (Rosencrantz, Player King, Gravedigger), Jeff Ho (Ophelia), Hannah Miller (Guildenstern, Player Queen), Rick Roberts (Claudius), Khadijah Roberts-Abdullah (Laertes), Karen Robinson (Gertrude) and Maria Vacratsis (Polonius); all actors play their respective characters as originally written and all introduce themselves in ASL at the top of the show. These are actors playing characters, and regardless of gender casting, each brings a grounded, genuine and unique interpretation of the person they’re playing. And this cast looks like the people we see every day in our city.
Horne gives us a compelling and moving Hamlet, bringing a fragile edge to his melancholy, countered by a sharp, wry sense of humour. This adaptation has Horne also playing the ghost of Hamlet’s father, an interesting choice that evokes dark moments of possession. A bashful and cheeky romantic in love with Ophelia, playful and candid with his bosom friend Horatio, and poetic in his philosophical inner debates on revenge and mortality, this is a Hamlet for the 21st century.
Birley’s complex, conflicted Horatio is both a part of and witness to the tragedy that unfolds. Also acting as our host and guide, Horatio signs his dialogue and translates the text into ASL throughout, including some brilliant comic relief during one of Hamlet’s encounters with Rosencrantz and Guildenstern. She gives a gripping interpretation of the fight scene between Hamlet and Laertes, and her “Goodnight, sweet Prince” is both beautiful and heart-breaking.
As Gertrude, Robinson brings a sharply drawn evolution to the relationship with Claudius, from giddy in love to devastated and horrified. Concerned for the welfare her son throughout, Gertrude finds herself faced with a choice between her new husband and her son. Roberts gives us a big, lusty Claudius; living the dream until he’s called out by Hamlet’s carefully crafted play presentation. In a moving and tortured prayer scene, dejected and unable to repent, Claudius realizes he’s unwilling to give up the spoils of his crime, resorting to further treachery and cover-ups.
Ho is lovely as the playful, but delicate Ophelia, whose descent into madness is both heartbreaking and disturbing. Vacratsis is hilariously wordy and sharply academic as Polonius; decidedly not a man of few words, he nevertheless has wisdom to impart, as evidenced in his famous advice to Laertes. And Roberts-Abdullah gives Laertes a fierce edge under that affable, good son exterior; belly full of fire, he’s hell-bent on revenge for his father and sister, but never loses his sense of fairness.
Fernandes and Miller do a great job juggling multiple roles; Fernandes is great fun as the impudent, philosophical Gravedigger and Miller brings a sense of sass to Hamlet’s pal Guildenstern.
With big shouts to the design team for their rich, evocative work on this production: Lorenzo Savoini (set and costumes), André du Toit (lighting) and Thomas Ryder Payne (sound).
Hamlet as you’ve never seen it in the haunting, beautiful ASL/English adaptation Prince Hamlet.
Searching for answers about the fate of her father Peter (Ben Sanders), Hannah (Eva Barrie) arrives at a Berlin travel agency looking for Thomas (Earl Pastko). Armed with conflicting reports and evidence, and only vague memories, Hannah is determined to find the truth. Convinced that her father may still be alive, the man Hannah seeks answers from was her father’s friend and co-worker – and also a Stasi informant. A story woven across time, through the fall of the Berlin Wall and the historical reunification of Berlin, Agency shows us a world of greys – where nothing is as simple as it appears to be, and where good intentions can come to haunt and hurt.
Shifting across time and space, Agency plays out in intimate two-handers: mainly between Hannah and Thomas in the present, and Thomas and Peter in the past; in some cases, overlapping on the playing space as Thomas recalls a conversation with Peter as he speaks with Hannah.
Lovely, strong work from the cast here. Pastko’s Thomas acts as the bridge between past and present; unflinchingly calm and introverted, there is a kind sweetness beneath that gruff, old-school exterior. An adept spy, he’s struggled to find a way to use his covert talents for good. Barrie’s Hannah is all youthful, haunted energy; fragile and uncertain for all her bravado and research, she longs for the truth and gets more than she bargained for. And Sanders gives us an optimistic, charming and extroverted Peter; acting on instinct and hoping for the best, Peter’s sense of hopefulness and love is put to the test.
In his or her own way each is seeking reconciliation and redemption through these revelations. And, like the birds that repeatedly fly into the agency office windows, they’re butting up against the invisible walls that keep them apart.
Past and present collide as the walls come down in the compelling, intimate Agency.
Agency continues in The Theatre Centre Incubator until Nov 20; get your tix in advance online. Please note the early start times: 7 p.m. for evening performances and 1 p.m. for matinées.
Set in St. Louis, Amanda Wingfield (Tracey Hoyt) lives in a cramped apartment with her two young adult children Tom (James Graham) and Laura (Hannah Spear). Mr. Wingfield, famous and infamous for his charm and grin, is long gone – not dead, but absent; a fifth character in this story, present only in a grinning photograph. This is a memory play, narrated by Tom and featuring milestone moments in the family’s history. Painfully shy and incapacitated with fear, Laura has dropped out of school; preferring to live in a world of old music and glass animals. Concerned for her daughter’s future, Amanda, a displaced member of privileged, old southern society, hatches a plan to have Tom invite one of his warehouse co-workers (Jim, the Gentleman Caller, played by Samer Salem) over for dinner in the hopes of sparking a romance and eventual marriage for Laura. Meanwhile, Tom is working on a scheme of his own, with plans to break free from a life of ennui and movie house escape, and into a journey of real adventure.
Lovely work from the cast in this intimate portrait of desperate dreaming family life. Graham brings a melancholy tinged with a wistful, and at times dark, sense of whimsy to his performance as Tom. A philosophical introvert, Tom’s a ticking time bomb of frustration; burdened with being the family breadwinner, he’s torn between taking care of his mother and sister, and making a life he can call his own. Hoyt’s Amanda is a complex combination of old southern gentility and ruthless realism. The life and world Amanda’s come to live in are both foreign and a step down for her socially speaking; disillusioned and desperate for a secure future, Amanda is a well-meaning nag with permanent worry lines on her forehead. And we see how rooted she is in the past as she slips into girlish coquetry when Jim arrives.
Spear brings a lovely sense of fragility and solitude to Laura; a painfully shy and delicate soul who dares to dream. A creative and good-humoured introvert with low self-esteem, Laura is both genuine and awkward – and her failings are largely in her mind. Salem gives Jim a high-energy, charismatic and athletic spark. As Laura’s polar opposite, Jim’s high self-esteem – perhaps a bit too high – is tempered by a charm and sincerity; a man who appears to have peaked in high school, he is “disappointed but not discouraged,” and spends his time after work on self-improvement courses.
All are disappointed but not discouraged – to some degree, at least – but, as Amanda points out, despite one’s best efforts “Things have a way of turning out so badly.”
Keeping the script intact, but setting the scene in modern-day America – as well as offering a new take on the menagerie – this production of the Williams classic finds the past aptly mirrored in the present; bringing this story of ennui, economic struggle and dreams of a better life into current focus. When Laura plays her father’s old records, it’s on a CD player; and, beyond a mere collection of acquired knickknacks, the menagerie is her own creation. Like the mirror ball at the Paradise Dance Hall across the alley, the animals are covered in pieces of mirrored glass – and those who look upon Laura’s creations are reflected in them.
Staged in the round in the more intimate Incubator space at the Theatre Centre, the audience really gets a fly-on-the-wall perspective of this family drama. Shouts to set/costume designer Adriana Bogaard, and lighting designer Jareth Li for their work in creating this world.
Fond and fierce dreams in 73H Productions’/The Howland Company’s poignant modern-day reflection on The Glass Menagerie.
The Glass Menagerie continues at the Theatre Centre Incubator until September 11. You can get advance tix online; strongly recommended, as it’s an intimate space and opening was sold out.
In the meantime, check out the trailer, created by Daniel Maslany:
I caught the closing performance of Mr. Shi and His Lover, a Macau Experimental Theatre/Music Picnic contemporary Chinese music theatre co-production, a special SummerWorks presentation at the Theatre Centre Mainspace. Inspired by the real-life love affair between a Chinese opera singer turned spy and a French diplomat, the show is performed in Mandarin with Chinese and English surtitles, with text by Wong Teng Chi, surtitle translation by Derek Kwan, music/music direction by Njo Kong Kie and direction by Johnny Tam.
A love affair between opera singer Mr. Shi (Jordan Cheng) and French diplomat Bernard (Derek Kwan) ends in scandal and imprisonment when it’s discovered that Shi is a spy – and a man disguised as a woman.
Lovely, nuanced and moving work from Cheng and Kwan – in moments of revealing solitude and in powerful, evocative two-handers. With a masterful combination of movement, gesture and voice, Cheng brings a beautiful balance of delicacy and strength to his performance as Shi; although Shi lives for, and revels in, a life of performance, he’s not prepared for getting caught in his own lie. Kwan gives Bernard a great sense of tension; his corporate sense of propriety and manners belie the deep love of ideal beauty and the heart of a romantic. As rational and logical as Bernard strives to be, he cannot explain love away when his ideal woman turns out to be a man. Mining the layers of public and private persona, betrayal, revelation, and attempted forgiveness and redemption, both must admit to real love. And in the end, each man ultimately becomes his own judge and jury.
Njo Kong Kie (piano) and Carol Wang (percussion) create a two-person orchestra for the production; positioned upstage on opposite sides, scoring and underscoring the story of Shi and Bernard’s life together and apart. The music and lyrics draw inspiration from Peking opera, pop music and modern-day music theatre; revealing the inner workings of these characters and heightening the poignant tragedy of their relationship.
Identity, perception, intrigue, scandal – and most potent of all – love; this story has it all. A performer and a diplomat caught in a web of deceit and love in the exquisite, heartbreaking Mr. Shi and His Lover.
Mr. Shi and His Lover closed its SummerWorks run at the Theatre Centre Mainspace yesterday afternoon. Keep an eye out for future productions on the show’s website.
Part One of the Trilogy, Esu Crossing the Middle Passage, speaks to the past; Part Two, She Mami Wata and the Pussy WitchHunt is set in the present; and Bleeders takes us into the future. Directed by anitafrika, assisted by Nickeshia Garrick, Bleeders features choreography by Garrick, and composition by Waleed Abdulhamid (also the music director), assisted by tuku (also vocalist and vocal coach).
The Pickering nuclear power plant has exploded, destroying the environment, poisoning the water, rendering the population infertile and plunging the land into ongoing war. A group of Black womxn* survivors gathers to find a way to heal the land and its people. A lone bleeder (fertile) emerges to become their warrior, setting off on a vision quest in search of the Ancestor Tree. Meanwhile, an army draws closer, hell bent on finding bleeders in order to increase their numbers and continue the war.
The powerful, high-energy production features an equally outstanding ensemble: Olunike Adeliyi, d’bi.young anitafrika, Aisha Bentham, Raven Dauda, Nickeshia Garrick, Najla Nubyanluv, Sashoya Shoya Oya, Khadijah Roberts-Abdullah and Ravyn Wngs. And the band – The 333, which performs with anitafrika on Aug 9 at the Scotiabank Studio Theatre – is Waleed Abdulhamid, Christopher Butcher, Odel Johnson and Patrick O’Reilly.
The devastating and hopeful storytelling is impactful, both visually (set/costumes by Rachel Forbes) and emotionally, told through song, mythology and the hero’s journey; and many of the ensemble take on the roles of the hero’s animal guides, moving with fluid precision. The effect is both magical and poignant. The lyrics and music resonate to the core, making you want to move and then weep; Garrick’s solo “Rest in Peace” and the “Black Lives Matter” finale are especially potent. Once again, I was left in tears.
In the end, we are reminded of what anitafrika described during the brief post-show talkback as “the intersectionality of oppression” – how all are affected when global greed endangers the climate and environment – and of our collective responsibility to do something about it.
Despite their best efforts at accessing funding through grants, the Watah Theatre is in dire financial straits and needs our help in order to survive. Please consider giving to their Go Fund Me campaign; and keep the vitally important company alive so it can continue providing artist training and support, and produce works that tell stories that need to be told.
Post-nuclear disaster bravery, vision quest and hope in the powerful, moving and resonant Bleeders.
Bleeders continues at the Theatre Centre Mainspace until Aug 14. And look for a life beyond SummerWorks – this is just the beginning.
*This is the playwright’s preferred spelling of “women.”