A delightfully witty stab at the upper class in Alumnae’s charming, entertaining The Importance of Being Earnest

Sean Jacklin & Nicholas Koy Santillo. Set design by Marysia Bucholc. Costume design by Margaret Spence, with associate Peter DeFreitas. Lighting design by Liam Stewart. Photo by Bruce Peters.

 

The Alumnae Theatre Company goes Wilde with its charming, entertaining production of Oscar Wilde’s The Importance of Being Earnest, directed by Barbara Larose, assisted by Ellen Green—opening last night on Alumnae’s Mainstage. Set in 1895, this beloved Wilde classic adeptly and hilariously satirizes the British upper class; and is so full of well-known razor-sharp witticisms, it’s a veritable cornucopia of Wilde’s greatest hits.

Best friends Jack (Nicholas Koy Santillo) and Algernon (Sean Jacklin) are wealthy young bachelors about town—wicked enough to be modern, but not so much that they’re criminal. That’s about to change, as Jack is smitten with Algie’s cousin Gwendolyn (Kathryn Geertsema) and has his mind set on proposing. But, although Jack and Gwendolyn are mutually agreed upon the prospect, they must get permission from her imperious mother Lady Bracknell (Tricia Brioux); and they hit a major roadblock when Jack is questioned about his parents, of whom he knows nothing, as he was a foundling. Scandalized at the thought of her daughter marrying a man who was found in a handbag as an infant, Lady Bracknell orders Jack to find evidence of his ancestry—a condition of her giving her blessing to the match.

If that weren’t enough, Jack is living a double life: he is Jack in his country home, where he is the responsible guardian of his 18-year-old ward Cecily (Laura Meadows), but goes by the name of Earnest in town. So Gwendolyn believes his name is Earnest—and has romanticized the name to the point that she believes it to be a vital ingredient to marital bliss. And to make matters even more complicated, Jack has created a fictitious wicked younger brother named Earnest, a relation only mentioned by that name when he’s in the country.

Earnest couples
Left: Kathryn Geertsema & Nicholas Koy Santillo. Right: Laura Meadows & Sean Jacklin. Set design by Marysia Bucholc. Costume design by Margaret Spence, with associate Peter DeFreitas. Lighting design by Liam Stewart. Photo by Bruce Peters.

The engagement on hold, Jack returns to his country home to try to sort out his birth, his name and kill off his fictitious brother. He enlists the aid of Rev. Chasuble (Rob Candy), the affable and learned local minister who enjoys taking his regular constitutional over to the house to visit Cecily’s prim, exacting governess Miss Prism (Tina McCulloch). They are surprised by an unexpected guest: Jack’s brother Earnest! Of course, it’s really Algernon, out for a bit of fun and longing to meet Cecily, who also happens to adore the name Earnest; and the two hit it off nicely and become engaged on the spot. And when Gwendolyn arrives, curious about the engraving she saw in Jack’s cigarette case (from Cecily), the two women face off over who is, in fact, engaged to Earnest. Chaos and confessions ensue; and with the arrival of Lady Bracknell, a revelation. All great fun and hilariously sending up the upper echelons of British society, with Algernon’s wry-witted, deadpan housekeeper Lane (Lisa Lenihan) and Jack’s understated, watchful Merriman (Barbara Salsberg) witnessing the tomfoolery of their supposed betters from the sidelines.

 

The cast does a great job with the crisp, rapid-fire dialogue—so full of quotable bon mots, it’s easy to get caught up in the rapier wit shenanigans. Koy Santillo and Jacklin are perfect foils as Jack and Algernon; an odd couple pair of best friends, with Jack (Koy Santillo) being the somewhat more responsible and respectable, and Algernon (Jacklin) being more slapdash and careless. And Geertsema’s sharp, independent-minded Gwendolyn and Meadows’ romantic, precocious Cecily are not only well-matched to their respective boy; they share a highly entertaining two-hander scene, their proper high society manners a thin veil to the steely, take-no-prisoners resolve to win Earnest—only to become BFFs when they learn about the boys’ hijinks with the name Earnest. And Brioux is an impressive, commanding presence as the fastidiously precise, domineering Lady Bracknell; her cutting pronouncements and withering glances as the formidable dowager earned a round of applause on her exit near the end of Act I.

 

tricia in earnest
Tricia Brioux. Set design by Marysia Bucholc. Costume design by Margaret Spence, with associate Peter DeFreitas. Lighting design by Liam Stewart. Photo by Bruce Peters.

The Importance of Being Earnest is Wilde at his wittiest, satirical, make fun of the upper class best—and the Alumnae team does him proud. With shouts to the stunning period costumes designed by Margaret Spence, with associate Peter DeFreitas; Marysia Bucholc’s trim, ornate and highly efficient moveable set, illuminated by lighting designer Liam Stewart; and Rick Jones’ period-perfect sound design. All held together by the intrepid SM Margot Devlin.

 

The Importance of Being Earnest continues on the Alumnae Theatre Mainstage until October 6. Get advance tickets online, by calling the box office: 416-364-4170, ext. 1 or at the door (cash only). Performances run Wednesday – Saturday at 8 pm, with matinees on Sunday at 2:00 pm.

The run includes Post-Show Talkbacks following the Sunday matinees on September 23 and 30; and a Pre-show Designer Panel on September 27 at 6:30 pm. (this one comes with snacks). Check out the fun trailer:

 

And check out this interview with actor Tricia Brioux in the Beach Metro Community News. Keep up with Alumnae Theatre on Facebook, Twitter and Instagram.

 

Advertisements

Sharply funny, moving, candid looks at LGBTQ lives in 7th annual Gay Play Day

Gay Play Dayan annual festival of short, new plays written by LGBTQ playwrights and their allies—returns to the Alumnae Theatre Studio for two days only. This is the 7th year of the fest for founding AD Darren Stewart-Jones and the GPD team, which this year includes technical director Johnny Salib and Henry Keeler on front of house. The 2018 edition includes two programs, each featuring four short plays: the Lavender Show and the Pink Show. I caught both at opening night last night; here they are, in order of appearance.

THE PINK SHOW (approx. 75 minutes)

Fade to Black. Written/directed by Darren Stewart-Jones. Old Hollywood meets 21st century fandom when aging former Hollywood icon Bedelia Blake (Nonnie Griffin) finds an unexpected #1 fan when she meets Jamie (Nathaniel Bacon), a young gay man volunteering for Meals on Wheels. Largely secluded from the world for some time, Bedelia finds renewed public interest in her life and career as that first meeting evolves into friendship. Also featuring Philip Cairns as Mr. Johnson. Tender and nostalgic; featuring lovely, layered performances from Griffin and Bacon, as Bedelia and Jamie open up and feel at home enough to be their true selves with each other.

Labels. Written/directed by Erika Reesor. Lesbian couple Danny (Leigh Patterson) and Mia (Emily Schooley) live with Danny’s mom and are preparing for her birthday. Already stressed about the situation, when Mia finds a prescription for testosterone in Danny’s jeans, Danny has some serious explaining to do—sparking a series of confessions and revelations about their relationship and beliefs about gender. A funny, poignant and real two-hander; with grounded, engaging performances.

Diamonds on Plastic. Written/directed by Philip Cairns. Doris (Margaret Lamarre), a straight married spitfire of a southern lady of a certain age confides in us about her love of shopping and all things that sparkle—and goes on to open up about a blossoming affair with a childhood friend, also a straight married woman. Confessions of a shopaholic who adores jewels, shoes and surprisingly more; and a hilarious and entertaining performance from Lamarre, who also gives an LOL turn as Doris’s husband.

Point and Click. Written/directed by Steven Elliott Jackson; stage manager/producer Winston Stilwell. Gossiping away on his cellphone, the arrogant, catty photographer Andre (Adam Bonney) talks trash about friends and colleagues while waiting for a male model to arrive at his studio, virtually ignoring Shannon’s (Jim Armstrong) arrival. A sharply funny look at the perceptions of beauty, with schooling on fat shaming and body image; nicely paired casting, with spot on comic timing from Armstrong.

THE LAVENDER SHOW (approx. 65 minutes)

I’ve Just Seen a Face. Written/directed by Kris Davis. Charlie (Sav Binder) and their friend Mel (Chantel Marostica) attend a queer date/games night, hosted by Sage (Kasden Leo Indigo). While Mel gets to know Sage, Charlie has a near miss with Annie (Rose Tuong), but finds an opportunity for a meet cute at the Knit Café, where Annie works and teaches knitting workshops. Charlie is smitten, but how do they tell Annie that they have facial blindness? A sweet queer rom-com vibe; with hilarious, entertaining performances—particularly Marostica’s cynical, edgy comic Mel, and Binder’s adorkably awkward romantic Charlie.

Missed Connections. Written/performed by Mark Keller; directed by Nick May. Single and alone for the past two years after a break-up, a 30-something gay man surfs the Internet for missed connections, in desperate hopes that someone’s noticed him. Beginning to question his own sanity, he reminisces about his past love as he tries to find the courage to find a new one. Full of LOLs and deeply poignant moments that resonate with any lonely soul who’s had their heart broken.

The End is the Beginning. Written by Tina McCulloch; directed by Josh Downing. The relationship dynamics between Elena (Devon Hubka), Vivian (McCulloch) and LeeAnne (Kelly-Marie Murtha) play out in reverse in this brief, dramatic, time-shifting look at the nature of love and alternatives to traditional monogamy. A candid, deconstructed look at coupling in the face of an ongoing relationship; nicely present, intimate work from the cast.

Coming Clean. Written/performed by Laura Piccinin. Part stand-up, part personal storytelling, Piccinin stands behind a mic and tells us her coming out stories (yes, there’s more than one). Sharply observed, tightly delivered—and finding laughter in the pain—for an entertaining and insightful, out and proud ride.

Missed last night? No worries! Gay Play Day runs for two days, continuing today (Saturday, September 8) up in the Alumnae Theatre Studio: the Lavender Show at 3pm and 7pm; the Pink Show at 5pm and 9pm. Get advance tickets online or at the door (cash only).

And keep up with all things Gay Play Day on Facebook and Twitter.

Secrets, schemes & stamps in sharp & darkly funny Mauritius

Philip, Dennis, Jackie
Derek Perks (foreground), with Douglas Tindal & Rebecca De La Cour in Mauritius – photo by Bill Michelson

Sometimes a stamp isn’t just a stamp.

A pair of rare postage stamps becomes a catalyst for hopes, dreams and desires in The Village Players’ production of Theresa Rebeck’s Mauritius, directed by Michael Hiller, which opened at the Village Playhouse last night.

Estranged step-sisters Jackie (Rebecca De La Cour) and Mary (Tina McCulloch) are reunited following the death of their mother, and discover Mary’s grandfather’s stamp collection as they sort through their mother’s things. The two have very different perspectives of both the stamps’ ownership and destiny. When Rebecca’s attempt to get the stamps appraised is rebuffed by the owner/operator of Phil’s stamp shop (Douglas Tindal), Phil’s friend Dennis (Derek Perks) comes to her assistance. He finds the collection extremely interesting – interesting enough to contact the wealthy and shady Sterling (Robert Woodcock), an extreme stamp aficionado, to broker a deal.

Dennis, Sterling sm
Derek Perks & Robert Woodcock – photo by Bill Michelson

The Mauritius script has a Walker meets Mamet flavour – and the cast does an effing nice job of it. Tindal is dishevelled and Sphinx-like as stamp expert Phil; his shop, like its owner, is frozen in time (somewhere around the 70s) and understated in its seediness (set by Nadia Dziubaniwsky). Perks is delightfully wiry and wily as the fast-talking, likeable scoundrel Dennis; a smooth operator, and adept at sizing up people and situations, there’s more to Dennis than meets the eye. De La Cour’s Jackie is a tough cookie; assertive and brave, yet full of hurt and longing – and grasping at hope – under that brash exterior. Woodcock is a remarkable presence as Sterling; physically, psychologically and intellectually menacing, with a soft underbelly invoked by the stamps, his object of obsession and desire. And McCulloch brings some nice, complex layers of propriety, nostalgia and fierceness to Mary, who is deeply conflicted within her family dynamic and personal attachment to her grandfather’s stamp collection.

Mary, Jackie sm
Tina McCulloch & Rebecca De La Cour – photo by Bill Michelson

Each character’s response to the stamps reveals what he/she values: money, freedom, history, possession and legacy.

Secrets, schemes and stamps in The Village Players’ sharp and darkly funny Mauritius.

Mauritius continues at the Village until Jan 30; show dates/times and ticket info here. You can keep up with the Village Players’ goings-on on Twitter and Facebook.

Drama, pathos & hilarity – now with more lesbians @ Gay Play Day

Gay Play Day poster 2 2013The second annual Gay Play Day LGBTTQ Theatre Festival of short plays ran Friday through Saturday in the Alumnae Theatre studio space, featuring works with all the drama, pathos and hilarity I remember from its inaugural fest last year. Now with more lesbians.

A.D./playwright/director Darren Stewart-Jones, wearing several other hats as producer, box office/reservations contact and all round bottle washer, assembled two programs for this year’s fest: six short plays, which ran Friday and Saturday night, and four solo shows on the Saturday matinée (the solo shows are new to the fest this year). I had the pleasure of attending the opening on Friday, then the solo shows on Saturday.

The six short plays:

Sherlock & Watson: Behind Closed Doors – written and directed by Darren Stewart-Jones, with set and costumes by Henry Keeler. Holmes and Watson shippers will love this touching, tension-filled two-hander, where we get a look at the more vulnerable side of Holmes (Nathaniel Bacon). Watson (Nick May) has just married and arrives to visit Holmes, who’s been holed up in his Baker Street apartment, steeped in cocaine and attractive young men, invited over for “tea parties.” Watson is concerned for Sherlock’s health – and Sherlock wants Watson back. And not just as a work colleague. It’s a complex, cerebral and physical relationship, and both have choices to make. Lovely, truthful performances from Bacon and May.

Let’s Spend Our Lives Together, Maybe by Tina McCulloch and directed by PJ Hammond – is a sequel to McCulloch’s sweet romcom The Object of Her Attraction, which appeared at Gay Play Day last year. We find Laurie (Mary Joseph) and Suzanne (Julie Burris), and their respective subconscious manifestations (Naomi Priddle Hunter and McCulloch), have just moved in together. And they’ve scheduled a house-warming party a week after moving day, which adds to the tension of getting used this next stage of their relationship. Thankfully, their friend Kai (Pona Tran), who we first met as the barista at the coffee shop in the first play, is there to assist – with the party and some sage advice. Really nice to see the original cast assembled again for the evolution of this partnership.

Couples – written/directed by Bruce Harrott – begins with one man tied to a chair and another interrogating him on a recent infidelity. Jon (Jonathan Lourdes) and Mark (Mark Keller) try to work on their relationship issues while struggling as working artists (playwright and actor). By turns touching and funny, it’s a truthful look at the highs and lows of a relationship, a universal theme no matter what the pairing. Lourdes and Keller do a very nice job of balancing the flippant with the poignant.

Men In Kilts – by Niall O’Reilly and directed by Nicholas Banks – is just as fun as the title suggests. Set in the bar during a wedding party, attractive single gal lawyers Cynthia (Chrissy Carr) and Jasmina (Melissa Chetty) wonder about the sexual orientation of two handsome groomsmen Ron (Michael Sutherland) and Steve (Justin Roy), who are both dressed in kilts for the occasion. Of course, the ladies are also curious about what the men are wearing under the kilts. They pair up into couples – and the women soon learn that you really can’t judge a book by its cover. Or, in this case, a man by his kilt. Nice work by the entire ensemble – keeping it fun and also real.

Hush – by Megan Hutton and directed by Katie Messina – is a raw family drama. Sophie (Leigh Elliot), a young lesbian, struggles with her mother’s (Katie Messina) religion-driven homophobia, as well as coming out with family secrets and navigating her relationship with her older lover Pat (Jaime Polatynski), and an intervention meeting of sorts with a nun (Franny McCabe-Bennett) at her mother’s church. The mother/daughter dynamic is heartbreaking to behold, and Pat does her best with supporting her partner while grappling with her own feelings and frustration about the situation. Strong work by the cast with some difficult, sensitive topics.

The Rice Queen of Cabbagetown (excerpt) – written by Charles Hayter and directed by Lise Maher – is a clever gay twist on GB Shaw’s Pygmalion, with even more of a twist. Well-respected ESL school director Henry (Peter Nelson) learns from friend and colleague Pearse (Arthur Hamby) that his job is in jeopardy since his workplace nemesis has come up with a language program that gets even faster results than his own. The two men cook up a scheme to use Henry’s recent trick Lee (Ivan Regalado) as a guineapig student – and teach him perfect English even faster. But there may be a few things that Henry doesn’t know about his accomplices. Delightfully bitchy good fun, with a cast that attacks their parts with relish and style. Look forward to seeing where this one goes.

The four solo shows:

Hossam and Joel – written and performed by Lorenzo Pagnotta, and co-directed by Tony Babcock – takes us through the life and loves of an adorably sexy and smart single gay man as he ponders the pros and cons of playing the field vs. serious monogamy. Waking up next to someone you love is lovely, but so is an anonymous encounter at the baths. Which could end up becoming a serious relationship as well. Telling the story with humour, honesty and heart, Pagnotta manages to touch on what most singles feel as they’re out there looking for love and connection. I’d be interested to see this as a larger piece, with a full cast.

Obscuring Jude – by Dorianne Emmerton and performed by Katie Sly – is a sharply drawn, visceral, cerebral, not to mention both funny and disturbing, journey into a troubled young woman’s mind. Jude appears wearing a name tag and addresses us directly, making the audience part of her group therapy session as she unravels her history, her thoughts and meanderings. An emotional, connected and real performance from Sly.

Why I’m Not A Star – written/performed by Philip Cairns, with direction/dramaturgy by Andraya Smith – is a highly entertaining autobiographical piece of storytelling. An engaging and funny raconteur, Cairns takes us on a journey from his brief tween modelling career at the age of 11 to his experiences as a struggling actor over the years – dealing with negative perceptions of a feminine vibe, sleeping with directors – and his reactions to the loss of mentor Jackie Burroughs, and relationships with agents, casting and fellow actors. Really enjoyed seeing the evolution of this piece from an earlier excerpt I heard Cairns read at Lizzie Violet’s Cabaret Noir in August.

Faery Tale Confidential – written, directed and performed by Marcy Rogers – is a hilariously funny, socially apt, take on the world of Fae. Rogers plays a faery with attitude, on the run from Queen Mab and dealing with a blackmailing human ex-lover. She is also a faery who was meant to be an elf. As she confesses her transfae feelings, she spills the beans on the Fae world as she formulates a plan of action to resolve her plight. A big fun twist on some favourite mythological and faery tale creatures – told with frankness, adult language and edge. This is another piece I’d seen Rogers perform an earlier incarnation of – at the monthly The Beautiful and the Damned poetry cabaret – great fun to see how it’s come along.

Both the Friday and Saturday night performances sold out this year, and Stewart-Jones plans on continuing the festival next year. As its popularity continues to grow, Gay Play Day has the potential to expand into an even larger multi-day/multi-program run.

More theatre in T.O. – on right now & upcoming

So much out there to see and still no clones on hand to help me make it out to everything. Here are some shows that are continuing and upcoming:

The Village Players’ production of Les Liasons Dangereuses, by Christopher Hampton, directed by Anne Harper – running now until October 5 at the Village Playhouse.

Next To Normal at Lower Ossington Theatre, book and lyrics by Brian Yorkey, music by Tom Kitt – running now until September 29. Check out In the Green Room’s interview with director Heather Braaten.

The second annual Gay Play Day returns to the Alumnae Theatre studio space for a two-day run September 27 & 28. Here’s the line-up for this year:

September 27 & 28 @ 8 p.m.: Sherlock & Watson: Behind Closed Doors by Darren Stewart-Jones; Let’s Spend Our Lives Together, Maybe by Tina McCulloch; Couples by Bruce Harrott; Men In Kilts by Niall O’Reilly; Hush by Megan Hutton; The Rice Queen of Cabbagetown (excerpt) by Charles Hayter

New this year – a series of matinée solo shows on September 28 @ 3 p.m.: Hossam and Joel by Lorenzo Pagnotta; Obscuring Jude by Dorianne Emmerton; Why I’m Not A Star by Philip Cairns; Fairy Tale Confidential by Marcy Rogers
Enjoy!

Magic & mayhem in a small town – Alumnae Theatre’s The Killdeer

1213-killdeer2

A rural kitchen with lavender walls, wallpapered below the chair railing on one side and paneled with different cuts of wood on the other. An open doorway reveals a pantry, shelves full of mason jars of colourful preserves. Up centre, a tree sprouts, covered in all manner of porcelain knick-knacks – a tea pot, glass animals – instead of leaves. Through the window, a portion of it cut away, vines enter from the outside world, and we get the stage right view of white birches, giant bull rushes and the beginning of a glittering green swamp.

Marysia Bucholc’s set is the audience’s introduction to the world of the Alumnae Theatre Company’s production of James Reaney’s The Killdeer, directed by Barbara Larose, with assistant director Ellen Green, part of Alumnae’s “Countdown to 100” retrospective programming as it approaches its 100th anniversary (it’s 95 now). Reaney’s play, which came about due to the encouragement of late director and Alumnae member Pamela Terry, had its premiere at Alumnae in 1960 (back when it was located on Bedford Road) and was directed by Terry – and it launched Reaney’s career as a playwright.

In this seemingly quaint country town – part rural gothic, part fairy tale place – with a mysterious and violent history, this kitchen in the Gardner home is a whimsical oasis of innocence. Through prose that is at times vernacular, at others poetic, storytelling and gossip, The Killdeer takes us on an intense, dramatic – and at times magical – journey into the lives and secrets of its characters.

Like me, you may be asking, what the heck is a “killdeer”? The press release for the production provides a helpful definition: a killdeer is “a small bird, known for feigning a broken wing to draw predators away from its nest, which is built on open ground, and for calling out its own name.” Sound designer Rick Jones incorporates the call of the killdeer into the production, along with musical touches of whimsy, mystery and drama, inspired by the original production’s sound design by John Beckwith.

The Killdeer features a very strong cast. Tricia Brioux’s Madam Fay is a deliciously arch, darkly comic and dangerously crazy lady with issues, while Tricia’s real-life nephew Matt Brioux (playing Madam Fay’s son) rounds out Eli’s seemingly simple-minded, childlike behaviour with good sense and a good heart. Rob Candy does evil up good as Clifford, a notorious piece of work whose menacing character rivals even that of Madam Fay. As Mrs. Gardner, Anne Shepherd combines a sense of rural tradition and individual quirkiness as Harry’s bric-a-brack collecting, overprotective mother, while Marie Carrière Gleason is great fun as Mrs. Gardner’s gossipy neighbour Mrs. Budge. Paul Hardy offers a nice transition as Harry goes from wide-eyed innocent teenager to a good man searching to find his way and save the true love of his life; and Blythe Haynes is lovely as Rebecca, a lost innocent like Harry, protective of those she loves even to her own detriment. Naomi Vondell adds some nice layers of mystery to the put upon Jailer’s wife Mrs. Soper, left to manage the cells while her husband is away. In their multiple roles, Michael Vitorovich is delightfully evil as the Hangman and comically officious as the Judge; Joanne Sarazen is especially entertaining as the mercurial Crown attorney and Tina McCulloch – doing quadruple duty playing two characters, as well as marketing/publicity and co-producer – gives a nice comic turn as courthouse cleaning lady Mrs. Delta. Peter Higginson’s enigmatic physician turned hermit Dr. Ballad is both gently wise and sharply funny.

Razie Brownstone’s costumes, and prop team’s Tess Hendaoui and Deborah Roed detailed touches, make for a lovely combination of realism and once upon a time. And Ed Rosing’s lighting design ranges from the clever (the box-like light on the floor for the witness stand in the courtroom) and magical (the lighting on the swamp and the twinkley lights on the walls of the set that burst out into the back of the house). All held together by intrepid SM/lighting op Margot “Mom” Devlin and her ASM team. Shouts also to co-producer Lynne Patterson and opening night catering mistress Sandy Schneider – and to Suzanne Courtney at Ticking Time Bomb Productions for the graphic design work on the poster (and for the entire season).

This was one crazy trip. And The Killdeer leaves the audience talking.

The Killdeer runs on the Alumnae Theatre main stage until April 27, with a talkback following the April 21 matinée. In the meantime, check out this Hye’s Musings blog interview with director Barbara Larose.

Inaugural Gay Play Day – charming, witty & touching LGBT works

Gay Play Day – a festival of LGBT theatre, envisioned and produced by actor/playwright Darren Stewart-Jones (Baby Gumm Productions), launched its first ever run in the Alumnae Theatre Studio last night, featuring four short plays in the first half, followed by a staged reading of Sky Gilbert’s Hamilton Bus Stop in the second half.

Intervention, written and directed by Bruce Harrott, is a charming, witty and insightful look at gay male relationships. Justin (Ryan Anning) is an extremely well put together and handsome, if not somewhat uptight, young man with some serious commitment issues. Enter a roguishly handsome stranger (Eric Regimbald), who offers some wise and timely advice. Very funny, with some lovely, touching moments, and strong work by Anning and Regimbald – with a dash of It’s A Wonderful Life magic realism thrown in.

In Ramblings of a Middle-aged Drag Queen, written and directed by Darren Stewart-Jones, journalism student Ryan’s (B.J. Jeroy)  backstage interview with drag performer Miss Ogyny (Philip Cairns) takes an interesting turn as Miss O talks about growing up in a small Ontario town. Cairns is spot-on as the middle-aged, somewhat rundown drag queen – and that red and silver sequined gown is fabulous – and Jeroy is adorable as the smart, inquisitive college kid.

The Object of Her Attraction, written by Tina McCulloch and directed by PJ Hammond, is a sweet mini-rom com with a fun psychological twist. Laurie (Mary Joseph) and Suzanne (Julie Burris) meet by chance at a coffee shop, each accompanied by the embodiment of her own subconscious (Laurie’s – Naomi Priddle Hunter and Suzanne’s – Tina McCulloch). While Laurie and Suzanne fumble with their emotions, deciding whether to act on the attraction, their psychological doppelgängers provide real-timegut-level responses and advice about the situation – with hilarious results. Really nice work by the cast, also including Pona Tran as the bored and somewhat surly barista, with walk-ons by Hammond and B.J. Jeroy as customers.

In Stupid Bitch, written and directed by Durango Miller, handsome young actor/waiter Matt (Gregory Ragle) is tired and frustrated at continually having to repel the advances of long-time would-be gentleman caller Professor Rachlin (David Bateman) – with some surprising results when Rachlin begins chatting with the restaurant cook Jimmy (Andrew T. Gaunce). Some seriously funny work by this ensemble cast, with some fun melodrama thrown in – especially Rory Moy as restaurant owner/manager Terry. Be careful what you wish for.

Hamilton Bus Stop by Sky Gilbert, starring Nick Green and Ellen-Ray Hennessey, is a raw, funny and real two-hander. Two strangers, a young gay man from Toronto and a middle-aged woman from Ancaster, wait for the bus – both dealing with their own inner turmoil, the stress erupting to the surface during their occasional, often edgy interaction. Two solitudes longing for someone to talk to, struggling to connect in the moment with the person in front of them, but addressing their fears and pain to the audience instead. Intensely funny and poignant, as well as socially astute – with outstanding work by Green and Hennessey – neither character is what they appear. Green’s Retro is all cool, foul-mouthed and dark, masking the devastated, lost boy inside – and Hennessey’s Cookie is all happy-go-lucky and loud, in a leopard-print ensemble that looks like it was designed by the House of Prickley, yet so crushed, confused and worried about her daughter. Looking forward to seeing what happens next with this play.

If you missed Gay Play Day last night, you have one more chance to catch this mini-fest of LGBT works tonight: Saturday, September 29 at 8 p.m. up in the Studio at Alumnae Theatre (70 Berkeley St., Toronto – at Berkeley/Adelaide St. E.). For more info, visit Gay Play Day’s Blogspot site here: http://gayplayday.blogspot.ca/

Perhaps make it part of your Nuit Blanche outing this evening.

Speaking of Nuit Blanche, I’ll be meeting some pals to see Dr. Draw (http://drdraw.ca/) perform at the Rivoli at 8 p.m., then we plan on making our way north to see Lizzie Violet’s horror poetry reading in Small Audiences at the Theatre Local space at Artscape Wychwood Barns at 3:30 a.m. Check out the program/locations here: http://www.scotiabanknuitblanche.ca/