The incendiary aftermath of lives in distress in the powerful, theatrical After the Fire

Louise Lambert, Jesse Gervais, Sheldon Elter & Kaitlyn Riordan. Set & costume design by Alison Yanota. Lighting design by Kaileigh Krysztofiak. Photo by Dahlia Katz.

 

Punctuate! Theatre and Alberta Aboriginal Performing Arts, in association with Native Earth Performing Arts and The Theatre Centre, opened the world premiere of Matthew MacKenzie’s powerful, theatrical After the Fire at The Theatre Centre last night. Directed by Brendan McMurtry-Howlett, assisted by Theresa Cutknife, the play follows two couples in the aftermath of the Fort McMurray fire—the personal, environmental and economic devastation of the disaster sparking volatile dynamics and personal revelations within the group. And a stark reminder of how precious and fragile our environment is—and how we need to examine our relationship with the land and water.

The pleasant, transporting scent of sage, sweet grass and tobacco wafts over us as we sit, in the round (rectangle, actually), a recognition of the four corners—North, South, East and West—and an Elder’s opening night prayer and reminder to respect, protect and hold sacred the water and the land. Mother Earth’s gifts have been razed by flames in Fort McMurray; the set (designed by Alison Yanota) a post-apocalyptic wasteland, a large pile of wood chips and ash dominating centre stage, with a menacing tentacle-like structure hovering above. Like a dead tree dripping crude oil, its shadow resembling a dinosaur skeleton in the red light (lighting design by Kaileigh Krysztofiak). And a touch of normalcy and Canadiana:  a box of Timbits and Timmies coffee cups sit atop the ash pile.

Laura (Kaitlyn Riordan) and Barry (Sheldon Elter) lost their home in the Fort McMurray fire; and they and their daughter are currently living with Laura’s younger sister Carmell (Louise Lambert), who has recently split up with her husband Ty (Jesse Gervais), and her two kids. Carmell is a local girls’ hockey team coach and Laura is their trainer; both have daughters on the team, bff cousins. Still reeling from the personal and community disaster of the fire, they’re on a mission tonight after the hockey game: the men are digging a hole out in the scorched forest and the women are en route to the tailings pond to dispose of something.

Riordan does an excellent job of driving the urgency of their situation, quashing Laura’s distress with determination and comic observation; tightly wound, fastidious and prim—the “responsible” older sister. A perfect foil as Laura’s “wild” younger sister, Lambert brings a world-wise, no-fucks-given edge; Carmell has dealt with some serious shit in her life, including her addict ex. And although the two are polar opposites and drive each other crazy, there’s a solid bond of sisterhood despite their differences. As the men take turns digging the hole, we see another pair of opposites emerge. Elter gives a solid, compelling performance as Barry; silent and pensive, and seething underneath it all, Barry’s found himself in a place of deep reflection. Re-examining his relationship with his Indigenous heritage and to the land since the fire, he’s particularly sensitive to the condition of the local flora and fauna. Gervais’ energetic, chatty man child Ty is a bundle of nervous recovering addict energy; unashamedly unapologetic for working in the oil industry, there’s more than meets the eye. Ty also demonstrates heart-felt honesty and care, and go-to resilience—a result of his inward exploration and recovery process.

Trying to keep it all together in the face of a dire situation, hot on the heels of their world actually on fire, each character is forced to deal with the fire burning out of control in his/her life. The Fort McMurray fire, possibly caused by humans, tripped off a series of responses and actions beyond the disaster itself, and renewed reflection and debate on environmental protection vs. economic benefits. As these characters take stock of their place in and personal impact on the world—on both a small and large scale—we’re reminded how a small spark on an individual level can create huge, far-reaching consequences that impact many.

After the Fire continues at the Theatre Centre to January 19; advance tickets available online or by calling the box office at 416-538-0988. It’s a short run, so get on it.

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Top 10 theatre 2018

For obvious reasons, I haven’t checked out other reviewers’/blogger folks’ lists—so I don’t know what they’ve been saying—but is it just me or was this year’s top 10 list an especially challenging task? Seems to me that we had an extra large embarrassment of riches with this year’s theatre productions, so I’m cheating with a larger than usual honourable mention list this year.*

Top ten theatre productions for 2018 (in alphabetical order):

Dry Land – Cue6

George F. Walker Double Bill (Her Inside Life & Kill the Poor) – Leroy Street Theatre/Low Rise Productions/Storefront Theatre

Ma Rainey’s Black Bottom – Soulpepper

Maggie & Pierre – timeshare productions 

The Message – Tarragon Theatre 

The Monkey Queen – Red Snow Collective

The Nether – Coal Mine & Studio 180 Theatre

Peter Pan – Bad Hats Theatre & Soulpepper 

The Pigeon – Alumnae Theatre FireWorks Festival

Punk Rock – Howland Company 

 

Honourable mentions:

Category E – Coal Mine Theatre 

A Christmas Carol – Three Ships Collective & Soup Can Theatre 

Little Gem – Toronto Irish Players 

Pearle Harbour’s Chautauqua – Theatre Passe Muraille 

The Royale – Soulpepper 

Secret Life of a Mother – Theatre Centre

Vitals – Theatre Born Between 

What I Call Her – In Association & Crow’s Theatre 

*Including shows I covered in life with more cowbell this year. As I was employed by Nightwood Theatre, either on staff or freelance, I have not reviewed their shows this year.

A photo album of family, love & memento mori in the profoundly moving, nostalgic, candid Dividing Lines/Líneas Divisorias

Beatriz Pizano & Julia (projected photo). Scenography by Trevor Schwellnus, with associate lighting designer Rebecca Vandevelde. Costume design by Andjelija Djuric. Photo by Jeremy Mimnagh.

 

“They say blood is thicker than water —
I say, love is thicker than blood.”

Aluna Theatre premieres Beatriz Pizano’s Dividing Lines/Líneas Divisorias, a photo album of family, love and memento mori; written and performed by Pizano, and created with director Trevor Schwellnus and composer/sound designer Brandon Miguel Valdivia, and running now at The Theatre Centre.

Losing her mother when she was a toddler, Pizano was adopted by her Aunt Julia and Uncle Jorge after her “Marlboro Man” father took off, leaving her and her two siblings behind—and a deep and lasting connection evolved with her new parents. Years later, after Pizano has moved to Canada, when an aged, widowed Julia drifts away in a lost, confused haze of dementia, she keeps her promise, returning home again and again to be with Julia during her “Calvary.” Weaving a personal history of distant and recent past—from her years growing up with Julia in Columbia to travelling back and forth from Canada during Julia’s final years, to and from hospital and nursing home; Pizano shifts from romantic nostalgia to harsh, heartbreaking life and death reality. And then, a chance meeting with a doctor at the nursing home—there to perform euthanasia on another patient—and an act of love, mercy and personal sacrifice to make a decision for a loved one who is unable to do so.

dividing lines
Beatriz Pizano. Scenography by Trevor Schwellnus, with associate lighting designer Rebecca Vandevelde. Costume design by Andjelija Djuric. Photo by Jeremy Mimnagh.

Incorporating photographs and props, projected on a row of overlapping burlap legs that flare out and merge together on the floor, we see an evolving collage of life and family—from the broad strokes of wide-ranging world events to the God-is-in-the-details moments and wisdom of shared lives. The storytelling, relayed in English and sometimes Spanish, is visually rich; full of a lust for life, liberty and equality; and resonating with the music of childhood and the revolution—and, ultimately, with hope and closure. Pizano gives us a deeply personal, candid, raw and romantic—at times interactive—performance; balanced with a cheeky sense of irreverence where religion is concerned, and a revolutionary bohemian spirit when it comes to class and politics.

Part personal memory play, part confessional, part memorial, Dividing Lines/Líneas Divisorias reminds us that the one thing that’s certain in life—and we all have in common—is that we die. What would you do for a loved one who’s lost to the world, incapacitated and in pain—to set them free?

Dividing Lines/Líneas Divisorias is in its final week, closing on December 2. Advance tickets available online or by calling The Theatre Centre’s Box Office at 416-538-0988.

Check out this CBC piece on Dividing Lines/Líneas Divisorias, including Matt Galloway’s interview with Beatriz Pizano on Metro Morning.

A warrior’s heroic journey in the wondrous, enchanting, multidisciplinary The Monkey Queen

Diana Tso and Nicholas Eddie. Scenic design by William Yong. Costume design by Robin Fisher. Lighting design by Rebecca Picherack. Projection design by Elysha Poirier. Photo by David Hou.

 

The Theatre Centre presents the world premiere of Red Snow Collective’s wondrous, enchanting, multidisciplinary The Monkey Queen, by Diana Tso, directed and choreographed by William Yong. A feminist re-imagining and counterpart to the well-known, beloved traditional Chinese story The Monkey King, from Wu Cheng’En’s 16th century epic Journey to the West, The Monkey Queen is mytho-biographic—part autobiography, part mythology. Part one of a trilogy, the journey takes the artist east, in search of her spiritual and ancestral roots; running parallel to the warrior’s search for enlightenment in a series of challenges and quests.

A multidisciplinary, multimedia piece of storytelling, The Monkey Queen weaves personal anecdotes from Tso’s life into the Monkey Queen’s heroic quest as artist and warrior travel their respective paths towards enlightenment and meaning. From the moment you set foot in the Incubator space, you feel transported to a place outside of time and space. The haunting, otherworldly music (composers Nick Storring and Brandon Valdivia) echoes like the sound of the spheres—soothing, hypnotic and mysterious—as the snow white set reflects the blue light (lighting design by Rebecca Picherack) from five branchless tree-like structures (emerging from the ground or descending from the sky?) that will change colour throughout. As the lights come up, you can see tufts of fluffy white snow along the ground, and waves of white origami flowers that seem to float along the upstage wall (scenic design by Yong). At times, images related to the action are projected (projection design by Elysha Poirier) on the upstage wall; conjuring up skeletal dragons, vast mountain ranges and a vast star-filled night sky.

TMQ_byDavidHou_14Nov2018_531_Cropped
Diana Tso and Nicholas Eddie. Scenic design by William Yong. Costume design by Robin Fisher. Lighting design by Rebecca Picherack. Projection design by Elysha Poirier. Photo by David Hou.

Performers Tso, who plays herself and the Monkey Queen, and Nicholas Eddie, playing her friend and a multitude of other characters—male, female, old, young, demon, god—tell the tale with movement, music and text; using their voices, posture and motion to sharply define and shift between characters. As the Monkey Queen, Tso is proud, fearless and determined as the female warrior bounds across the stars, shape shifting in the blink of an eye; and pragmatic as she comes to terms with mistakes in judgement stemming from her power and emotions. Eddie transforms from the mysterious old shaman, mentor to the Monkey Queen, to fearsome demons and dragons, to a charming, handsome prince. The performances are playful and brave, with a mischievous edge; sculpted with supple, powerful and expressive movement—all tempered with a sense of gravitas in the face of insight, enlightenment and penance.

The effect is magical; and as the tale unfolds, you may find yourself feeling like a child at story time. And despite the multimedia tech, most of the work is done by the performers—this is storytelling at its fantastic, imaginative best. And while this is a tale for children of all ages, girls will be especially gratified to see that they can be heroes too; particularly when they learn that Tso’s inspiration for writing the piece was so she could play a hero who was originally written and cast as a man.

The Monkey Queen continues at the Theatre Centre until December 2; please note the 7:30 pm curtain time. Running time 65 minutes, followed by a 15-minute Q&A with the artists. Tickets available by calling The Theatre Centre’s Box Office at 416-538-0988 or online.

In the meantime, check out the What’s On TOnight? Take Five interview with Diana Tso.

The good, the bad & the ugly of modern motherhood in the hilarious, heart-wrenching Secret Life of a Mother

Maev Beaty. Scenic design by Camellia Koo. Costume design by Erika Connor. Lighting design by Leigh Ann Vardy, with Kaileigh Krysztofiak. Photo by Kyle Purcell.

 

The collective theatrical baby of four female theatre artists—written by Hannah Moscovitch, with Maev Beaty and Ann-Marie Kerr, and co-created with Marinda de Beer—Secret Life of a Mother, directed by Kerr, opened at The Theatre Centre to a sold out house last night. Part autobiography, part confessional; it’s real and raw, hilarious and heart-wrenching—and it cracks open the good, the bad and the ugly of modern motherhood.

Six years in the making, Secret Life of a Mother was created through The Theatre Centre’s Residency program, during which time the four creators’ research was up close and personal; interviewing parents and drawing on their own first-hand observations of motherhood, including Beaty’s and Moscovitch’s own exhausting, guilt-ridden struggles of being a new mom while also working as an extremely busy, in-demand artist.

Beaty portrays Moscovitch throughout, occasionally popping out of character to speak to us as herself, as she takes us on this motherhood exploration journey in five acts—and we go right along with her as she rides the physical, psychological and emotional rollercoaster of miscarriage, labour, birth, fear of being a bad mom and getting invaluable support from a good friend. It’s personal, candid and more than a bit meta, with Beaty as Moscovitch, at times talking about herself from Moscovitch’s perspective; and we even get some first-hand commentary from Moscovitch—most intriguingly via video, projected on a piece of the script. But for all the neat multi-media elements—the mirrored backdrop, the two aquariums filled with water (scenic design by Camellia Koo and lighting by Leigh Ann Vardy, with Kaileigh Krysztofiak) and projection (Cameron Davis, with Laura Warren), not to mention the really cool, wonderful thing that happens at the end (which you’ll have to come see for yourself)—the storytelling is mostly low-tech, intimate and conversational. Like sitting with a good friend over a glass of wine.

Beaty and Moscovitch tell it like it is, no holds barred. It’s scary and confusing, messy and painful—even horrific and bizarre—and that’s just up until the baby comes out! After that, more confusion, second-guessing, guilt, shame, frustration, exhaustion, self-doubt. The taboo feelings of resentment and anger towards this new little person; and of wanting and needing to work—of splitting time, energy and focus between baby and career—are further kicks to the gut. Then there’s the mind-blowing, achingly disturbing realization that mothers give birth to life and death. And, finally, ongoing healing, support and acceptance as the new mom finds her own jam, and reconciles with the fact that there’s no one way to be a good mom. And then, the joy beyond belief and description.

Beaty gives a beautifully candid, gutsy and vulnerable performance; baring her soul along with Moscovitch in this profoundly human, honest exploration and revelation of modern—and new—motherhood. I doubt there was a dry eye in the house by the end; and more than a few of us wanting to hug our mothers.

Secret Life of a Mother in the Franco Boni Theatre space until November 11. Tickets available online or by calling The Theatre Centre’s Box Office at 416-538-0988 or online. Advance booking strongly recommended.

The run includes an ASL interpreted performance on November 2 at 8:00 pm; and a relaxed performance on November 6 at 8:00 pm.

SummerWorks: Death, fear & loneliness in the spine-tingling, darkly funny, Hitchcockian A Girl Lives Alone

Photo by Molly Flood.

Theatre Mischief gives us a spine-tingling, darkly funny turn—and a unique look at death, loneliness, fear and how people live together—in its SummerWorks production of Jessica Moss’s Hitchcock-inspired murder mystery comedy A Girl Lives Alone. Directed by Moss and the company, the show is currently running in the Theatre Centre’s Franco Boni Theatre.

New to her NYC apartment, Marion (Samantha Madely) returns home one night to find her fellow tenants assembled outside, their building taped off as a crime scene. A young woman in the building was murdered, at home in her apartment, the unknown perpetrator still at large. A murder mystery, Hitchcock fan obsessed with her ex-boyfriend’s classic murder mystery-inspired radio show podcast, Marion becomes hell-bent on investigating her neighbours in hopes of discovering the murderer. Gradually, she gets to know her fellow tenants: the opinionated, judgemental and fastidious Alma (Anita La Selva); the harried landlord Murray (Alexander Thomas); boyfriend/girlfriend pair the volatile Stewart (Aldrin Bundoc) and chatty Kim (Asha Vijayasingham); the nervous, quirky Janet (Jessica Moss); and the creepy, enigmatic Foley Artist upstairs (Andrew Musselman). Watching from the sidelines is the bubbly actress Grace (Tiffany Deobald), the murder victim. Grace lived alone.

The murder is a catalyst for a variety of shifting dynamics within the building; heightening suspicions, and driving self-advocacy and the realization that the tenants don’t particularly know each other that well. Their previous perceptions of safety and comfort profoundly shaken, no one in the building is the same. We see the dark and tender sides of the neighbours as the story unfolds; and everyone has their own way of coping. Janet binge-watches Friends on Netflix while others enjoy Law & Order SVU, Alma calls Murray out on a long-neglected repair to her place and Marion becomes Nancy Drew. Both terrified and fascinated by the strange Foley Artist who lives directly above her, Marion can’t stay away as he shows her the tricks of his trade, at her request, up in his place.

Outstanding work from the ensemble, riding a fine edge of comedy and psychothriller in this gripping, darkly funny tale of mystery, and dangers real and imagined. Noises in the dark—the young couple sexing or fighting, the Foley Artist at work, someone coming upon you suddenly—all take on new meaning and put everyone on edge. And some new, unexpected alliances are forged as well. What do you need to feel safe and comfortable in your own home? And how do women who live alone mitigate the risk? And how do you cope when the unthinkable happens so close to home?

With shouts to the design team for their gripping, atmospheric work on this production: composer/sound designer Richard Feren, set/costume designer Claire Hill and lighting designer Imogen Wilson.

A Girl Lives Alone has one more performance at SummerWorks: tonight (Aug 19) at 8:30 p.m.; advance tickets available online.

 

SummerWorks: Memory, nostalgia & queer men longing to connect in the quirky, charming, poignant Box 4901

Thirteen letters responding to a 1992 gay personals ad sit in a box unanswered. What does the recipient say to these men 26 years later? Memory, nostalgia, connection and hindsight figure prominently in timeshare productions’ SummerWorks presentation of novelist Brian Francis’ autobiographical Box 4901; directed by Rob Kempson and running on the Theatre Centre’s Incubator stage.

Long before the age of smartphones and Grindr, a 21-year-old Francis—then a student at the University of Western Ontario—posted a personals ad in The London Free Press looking for a connection in the small LGBTQ world of conservative London, Ontario. Of the approximately two dozen letters he received, 13 went unanswered and were discovered years later. Francis narrates and responds as 13 queer actors perform each letter.

Featuring actors Bilal Baig, Hume Baugh, Keith Cole, Izad Etemadi, Daniel Krolik, Michael Hughes, Tsholo Khalema, Eric Morin, G Kyle Shields, Chy Ryan Spain, Jonathan Tan, Chris Tsujiuchi and Geoffrey Whynot, the responses to the ad range from the bashful to the pornographic. Coming from a variety of men—ranging in age from high school senior to father figure—from various walks of life (“regular guy,” teacher, farmer, jock, “straight-acting,” leather community), the letters are sassy, charming, eloquent and humourous. The replies are frank, witty, sharply observational; and tempered with kindness, and the hindsight of age and wisdom.

There are some missed chances and missed bullets. All of these men share the same desire to reach out; longing for connection and a cure for aloneness, there’s a vulnerable authenticity in even the cockiest of responses. And the fear of being outed to family or housemates is as palpable and strong as the excitement and anticipation of a new connection.

Box 4901 has one more SummerWorks performance at the Theatre Centre on Aug 19 at 4:45 p.m.; it’s already sold out, but you can try your luck by arriving early to see if there are any no-shows.