The ABCs of cut-throat real estate in the darkly funny, testosterone-fuelled Glengarry Glen Ross

Derek Perks, Chris Coculuzzi & Frank De Francesco in Glengarry Glen Ross—photo by David Fitzpatrick

 

Amicus Productions wraps its 2016-17 season with its production of David Mamet’s Glengarry Glen Ross, directed by Harvey Levkoe; and opening last night at the Papermill Theatre at Todmorden Mills.

Set in Chicago in the 1980s, Glengarry Glen Ross still resonates today with its condemnation of American business and the testosterone-filled culture that runs it. In a world where you eat what you kill, men are driven to desperate measures to survive, and thrive in a twisted hierarchy of “real men” and competition for big-ticket prizes.

The story opens at the local Chinese restaurant, where we get a lay of the land and a taste of its inhabitants. Veteran salesman Shelly “The Machine” Levine (Daryn DeWalt) has been in a serious slump and makes a desperate plea to office manager John Williamson (Chris Coculuzzi) to get some prime leads. The outraged Dave Moss (Neil Hicks) vents to his side-kick co-worker George Aaronow (Jerrold Karch), hatching a plan to take the good leads by force and put them to use for their own benefit. And the slick Richard Roma (Derek Perks) spots a mark in the shy, unassuming James Lingk (Abbas Hussain).

With Act Two opening on their pillaged office, Detective Baylen (Frank De Francesco) has taken up residence, interviewing each man one by one. Shelly seems to have emerged from his slump – and big time. And Roma is celebrating record sales, earning him a car. That all changes when a sheepish James arrives, putting that deal in jeopardy. Loyalties are tested and stand-offs get ferocious as things go to hell, and we get closer to discovering who broke in and stole the leads.

Nice work from the entire cast in this intense, hot-tempered and darkly funny Mamet classic. Stand-outs include DeWalt, who finds a great balance between flop-sweat desperation and cocky showmanship as Shelly Levine; it’s a roller coaster of extreme highs and lows as Shelly fights for his livelihood, vacillating between winning and losing. Perks is a charming scoundrel as Roma; a suave and seductive player, and a sharp marksman, Roma is nevertheless a thoughtful philosopher and a loyal guy—crediting Levine as his mentor. Just don’t get on his bad side.

DFM Services - Amicus Productions - 2016~2017 ~ Glengary Glenross - Dress Rehearsal - 0041 (DAF20544)
Neil Hicks, Daryn DeWalt & Derek Perks in Glengarry Glen Ross—photo by David Fitzpatrick

Coculuzzi gives us an icy, detached Williamson, who’s a bit of a cypher; the company ‘Yes man,’ Williamson’s a classic case of management who knows zero about the work he’s managing—and who deeply enjoys the withholding and proffering of power. And Karch gives a compellingly understated and comic performance as George Aaronow; a quiet, sweet guy, Aaronow may have been duped by Moss, but he knows how to look after himself.

Lie, cheat, steal. The ABCs of cut-throat real estate in the darkly funny, testosterone-fuelled Glengarry Glen Ross.

Glengarry Glen Ross continues at the Papermill Theatre until May 6; check here for ticket purchase/info or call 416-860-6176.

You can keep up with Amicus Productions on Twitter and Facebook.

Head & heart, & two sisters in love in the delightful, youthful Sense & Sensibility

Photo by Dave Fitzpatrick: Conor Ling, Jackie Mahoney & Tamara Freeman

Amicus Productions takes us to the early 1800s England of Jane Austen with Jessica Swale’s adaptation of Austen’s Sense and Sensibility, directed by Maureen Lukie, assisted by Ted Powers, and currently running in the Papermill Theatre at Todmorden Mills.

Mrs. Dashwood (Peta Bailey) and her daughters Elinor (Tamara Freeman), Marianne (Jackie Mahoney) and Margaret (Sara Douglas) have just learned that their beloved husband and father has died. Adding insult to injury, their Norland Park estate is being taken over by the Dashwood male heir John (Andrew Horbatuik) and his wife Fanny (Mandi Sunshine), and they must now find a place to live. During the transfer of ownership, Fanny’s brother Edward (Conor Ling) comes to visit, and an attachment forms between him and Elinor. With high and rich family hopes for Edward’s marriage, Fanny blocks the relationship just as the Dashwood women learn of a cottage that’s available on the estate of a relative in Devonshire. And Elinor and Edward barely have a chance to say goodbye.

It’s an extreme downscale for the Dashwoods; they can bring no horses and only one servant (Horbatuik as Thomas). But they find a great, warm welcome from the high-spirited, eccentric Sir John (Rob Candy) and his mother-in-law Mrs. Jennings (Jenn Keay). And their quiet cottage life gets interesting with the appearance of Sir John’s friend Colonel Brandon (Matthew Payne) and a dashing young noble Willoughby (Rouvan Silogix), who rescues Marianne after a fall. Both have eyes for Marianne, but Marianne only has eyes for Willoughby, who returns her attentions with romantic gestures and implications of marriage.

Marianne’s bliss is short-lived, though, as Willoughby gets sent to London by his wealthy aunt. And Brandon has some distressing information about Willoughby’s history, which he confides to Elinor. Meanwhile, in her never-ending crusade to find husbands for the two older Dashwood sisters, Mrs. Jennings plans a trip to London to enjoy the balls and diversions of the season. And things get even more complicated for Elinor when their travel companion Lucy Steele (Riley Nelson) confesses a secret four-year-old engagement with Edward!

Things go from bad to worse in London when the Dashwood sisters have an unpleasant, awkward encounter with Willoughby at a ball, and learn via neighbourhood gossips (Lindsay Bryan and Sharon Kamiel) that he is engaged to the wealthy Miss Grey (Bryan). On their way home, escorted by Brandon, Elinor and Marianne stop at the home of Mrs. Jennings’ daughter Mrs. Palmer (Bryan) and Mr. Palmer (Horbatuik), where Marianne comes down with a life-threatening infection.

But don’t worry, the girls get home safe and new, happier revelations emerge.

There is a youthful edge to this adaptation; full of heart and charm. For those familiar with the book and the film adaptation by Emma Thompson, directed by Ang Lee, Swale has added some scenes that we would previously have only guessed at. One in particular highlights Willoughby’s misery at his reliance on a rich relation, and his regret at choosing money over love.

With shouts to the design team: Arash Eshghpour (set), Karlos Griffith (lighting), Dave Fitzpatrick (sound) and Lindsay Forde (costume); and to choreographer Karen Millyard.

Lovely work from the cast in this nicely staged adaptation; the scenes weaving in and out, shifting in time and space with well-paced precision—shouts to director Lukie and stage manager Cherie Oldenburg.

Stand-out performances include Freeman’s Elinor; a complex, layering of sensible, kind, discreet and accommodating, coupled with deeply felt emotional responses and heroic efforts to keep them in check. Throughout, Elinor is the confessor; hearing many secrets and troubles, but unable to divulge them, including the secrets of her own heart. Mahoney’s Marianne is the polar opposite of Elinor; high-spirited and stubborn, she has a passionate soul and wears her heart on her sleeve. Her romantic tendencies get a harsh dose of reality, but rather than being destroyed, she is tempered and becomes more circumspect. And Douglas’s Margaret is charming; an adorably precocious, whip-smart naturalist in the making, she sees more than the grown-ups think and doesn’t have their internal editor at play.

Ling gives a great turn as the painfully shy, bookish and affable Edward; and he does hilarious double duty as Edward’s buffoonish younger brother Robert. Candy and Keay are a laugh riot as the dynamic duo chatterboxes—the jolly and sociable Sir John and the one-woman OkCupid Mrs. Jennings—always up on the latest gossip and ready for a party. And nice work from Payne as the honourable, wounded and introspective Brandon; Silogix’s cheeky, handsome romantic Willoughby; and Sunshine’s waspish, greedy Fanny.

Head and heart, and two sisters in love in the delightful, youthful Sense and Sensibility.

Sense and Sensibility continues at the Papermill Theatre until Feb 11; check here for ticket purchase/info or call 416-860-6176.

You can keep up with Amicus Productions on Twitter and Facebook.

Love, revenge & calculated cruelty in the sexy, darkly funny & tragic Les Liaisons Dangereuses

 

dfm-services-amicus-productions-20162017-les-liaisons-dangereuses-pr-media-19935-0001
Renee Cullen (Merteuil) & Chris Coculuzzi (Valmont) – photos by Dave Fitzpatrick

Amicus Productions opened its 2016-17 season with Christopher Hampton’s Les Liaisons Dangereuses, directed by Victoria Shepherd, at the Todmorden Mills Papermill Theatre last night.

An edgy, erotic, sometimes chilling story of manipulation, desire and social gamesmanship, Amicus’s production of Les Liaisons Dangereuses plays out on a traditional proscenium stage, complete with drawn curtains, on a minimalist but gorgeous chess-inspired set (Alexis Chubb), with stunning period costume and wigs (Lindsay Forde), and sound design that includes original compositions (John Stuart Campbell, ft. Vivien Shepherd on vocals).

The Marquise de Merteuil (Renée Cullen) wants revenge against a former lover, and turns to another former lover, the notorious Vicomte de Valmont (Chris Coculuzzi), with a plan for him to seduce the man’s intended fiancée, the young Cécile Volange (Christina Leonard). In exchange, Merteuil promises Valmont a night of passion. Valmont has seduction plans of his own, however; he intends to bed the pious, loyal and married Présidente de Tourvel (Melanie Leon), a woman equally famous for her virtue as he is for his vice.

When his plans at his aunt’s home (Mme de Rosemond, played by Jenn Keay) are foiled by Cecile’s mother Mme de Volange (Kerrie Lamb), Valmont decides to go along with Merteuil’s plan, as the two also conspire to assist Cécile in her secret romance with the young Chevalier Danceny (Conor Ling). Meanwhile, Valmont has set his man servant Azolan (Andrew Batten) to spy on Tourvel, via his relationship with her maid; all this while paying regular visits to his favourite courtesan Émilie (Lindsay Forde). Constantly put off by Merteuil, Valmont goes to great lengths to procure payment for his services to her – and finds himself tangled in his own web.

Cullen and Coculuzzi are nicely matched as Merteuil and Valmont, who are both cunning as cats and master manipulators. Cullen’s Merteuil is coldly beautiful and ruthless; a woman tired of the second-class status afforded to her sex, she’s learned to take power by making pawns of those around her. Coculuzzi is diabolically charming and witty as Valmont; a sexy beast who’s gained notoriety as a callous rake (i.e., heartbreaking man whore), Valmont enjoys the game – but, unlike Merteuil, he’s more about the chase than the kill. As Tourvel, Leon brings a lovely sense of conflict and repressed lust; a gentle, pious soul, she is drawn to Valmont – and as much as she fights her feelings, she can’t help but succumb to the burgeoning passion between them. Some remarkable two-hander scenes, particularly in Act II, between Merteuil and Valmont (war) and Valmont and Tourvel (beyond my control).

dfm-services-amicus-productions-20162017-les-liaisons-dangereuses-pr-media-19948-0004
Chris Coculuzzi (Valmont) & Melanie Leon (Tourvel)

Leonard gives Cécile a great combination of wide-eyed innocence and insatiable lust; schooled by Valmont, she learns things that aren’t taught to nice young ladies. And Ling’s Danceny is adorably awkward and proper; on the brink of manhood, he is innocent and naïve – and he too learns a thing or two.

Excellent work from the supporting cast: Lamb’s prim and trusting Mme de Volange; Batten’s wry-witted and resourceful Azolan; Keay’s wise and kind Mme de Rosemonde, who’s onto more than you might think; Forde’s good times party girl Émilie; and Jeff Burke gives a nice turn as the Major-Domo, who’s seen so much and says so little.

Love, revenge and calculated cruelty in the sexy, darkly funny and tragic Les Liaisons Dangereuses.

Les Liaisons Dangereuses continues at the Papermill Theatre until Nov 19; check here for ticket purchase/info or call 416-860-6176.

You can keep up with Amicus Productions on Twitter and Facebook.

Great fun & lots of laughs in AST’s big, bold & stylish Lend Me a Tenor

dsc_7420
Peter Raimondo & Darrell Hicks in Lend Me a Tenor – photo by John Meadows

Alexander Showcase Theatre (AST) opened its production of Ken Ludwig’s hilarious romp Lend Me a Tenor at the Papermill Theatre at Todmorden Mills on Thursday, directed by Vincenzo Sestito.

Set in 1934 in a hotel suite in Cleveland, Cleveland Grand Opera Company manager Henry Saunders (Seth Mukamal), his daughter Maggie (Anne-Marie Krytiuk) and his assistant Max (Peter Raimondo) anxiously await the arrival of world-famous tenor Tito Merelli (Darrell Hicks), a stellar performer who’s big on wine and women, but not so much on punctuality. Add to the mix a fanboy Bellhop (Steve Kyriacopoulos, doing double duty as producer), Merelli’s jealous wife Maria (Sharon Zehavi, also the graphic designer), the opera company’s resident diva Diana (Nina Mason) and the Saunders’ doting family friend Julia (Michele Dodick), throw in some mistaken events and a comedy of errors – and hilarity ensues.

Lend Me a Tenor is a prime example of a go big or go home enterprise – and the AST cast brings it big time. Krytiuk is adorably feisty as the star-struck, wide-eyed romantic Maggie, a young woman longing for adventure and excitement, away from the watchful eye of her controlling father. Mukamal’s Henry is all business; gruff, bombastic and able to turn a dramatic and moving phrase when called for, his company’s production of Otello a make or break proposition. Raimondo is sweet and humble as the hard-working, put-upon Max; a lover of opera himself, but always toiling in the background, he’s in love with Maggie and wants to prove himself. Kyriacopoulos gives a great comic turn as the persistent and irritating but likeable Bellhop, a fanboy opera lover himself who needs no excuse to insert himself into the action.

dsc_7643
Seth Mukamal & Michele Dodick with Anne-Marie Krytiuk & Steve Kyriacopoulos in the background – photo by John Meadows

Hicks gives a larger-than-life, but warm performance as the brilliant and generous Merelli; mining the sensitive and sensual soul of the famous tenor, he finds the facets of Merelli and avoids a two-dimensional rendering – and he’s got an impressive set of pipes. As Merelli’s fiery wife Maria, Zehavi is by turns sexual and sexually frustrated; fully aware of her husband’s penchant for dalliance, she is ever on the prowl for hidden mistresses – and at the end of her rope with trying to keep up. Mason gives us a sensual, wry-witted performance as the slinky and driven soprano Diana, an ambitious opportunist who’s willing to do whatever it takes to make it to the Met. And Dodick is a delight as the Saunders’ friend Julia; “Aunt Julia” to Maggie and a big Merelli fan herself, she’s a jovial and positive force to be reckoned with.

With shouts to the design team for the sleek 1930s vintage flare: Gwyneth Sestito (music co-ordinator and costumes), Deborah Mills (props) and Peter Thorman (set).

Everyone loves a tenor, especially the ladies. Great fun and lots of laughs in Alexander Showcase Theatre’s big, bold and stylish Lend Me a Tenor.

Lend Me a Tenor runs at the Papermill Theatre until Dec 5; see the show’s page for dates/times and advance tickets.

You can also keep up with Alexander Showcase on Facebook and Twitter.

A charming, joyful celebration of life & love in Sabrina Fair

sabrina fair
Linus (Chris Coculuzzi), Sabrina (Amy LeBlanc) and David (Adam Brooks) are reunited in Sabrina Fair – photo by Dave Fitzpatrick

Amicus Productions gave the audience a magical evening of storytelling at Todmorden Mills Papermill Theatre last night with their production of Samuel Taylor’s Sabrina Fair, directed by Victoria Shepherd.

From its first moments, where ensemble actors Diana Franz and Meara Khanna open with a once-upon-a-time prologue, to the final discovery and acknowledgement of true feelings, Sabrina Fair is an engaging – and socially astute – piece of theatre. Not a mere 20th century rom com, Taylor’s play – and Amicus’s interpretation – is a combination of silly and sublime, as the story explores class and gender, and being true to oneself in the shifting social landscape of the early 1950s.

Shepherd has assembled a delightful cast for this theatrical adventure, with several stand-outs. Amy LeBlanc is a shimmering bundle of energy and wonder as Sabrina, a romantic realist, inspired by poetry and the excitement of the new and undiscovered – totally in love with the world even as she struggles to find her place in it. Chris Coculuzzi’s Linus is nicely layered; a man of panache and wit with killer business instincts – the tin man puppet master who’s forced to find his heart. Peter Bloch-Hansen is a treat as Mr. Larrabee, the somewhat befuddled family patriarch, whose bizarre hobby of attending funerals serves as a touchstone of certainty in a world he no longer understands. As his wife Maude, Sandra Cardinal is more self-aware than at first glance, with her sharp-witted – if not put upon – observations of society and family. And Heather Goodall, as Maude’s long-time chum Julia, hits just the right notes as the stylish, professional socialite, her self-possessed, well put-together exterior masking the vulnerability and loneliness beneath the surface. Nice work from Adam Brooks as Linus’s impetuous, boyish younger brother David; and Jeff Burke does a lovely job as Fairchild, Sabrina’s father and the family chauffeur, an extremely well-read man who’s full of surprises himself. All supported by a fine group of ensemble players.

With shouts to Alexis Chubb’s light, minimalist set design: the Larrabee’s garden patio, which is especially beautiful during the evening party scene, with its suspended multi-coloured lanterns and votive candles. And to Meredith Hubbard’s stunning costume design, which brings the palette and silhouette of this period – and this world – to life, especially with Sabrina’s and Julia’s frocks.

Amicus Productions’ Sabrina Fair is a charming, joyful celebration of life and love in a changing world.

Sabrina Fair continues its run at the Papermill Theatre until February 7, with matinée performances on February 1 and 7 at 2 p.m. Tickets are $22 regular and $20 seniors/students – available online or by phone at 416-860-6176.

Get yourself out for a wonderful time at the theatre. And, in case you were wondering – yes, this is the play that inspired the film Sabrina and the 1995 remake. In the meantime, check out the Amicus trailer:

And take a look at the interview with Amy LeBlanc.

Department of Corrections: Due to a last-minute casting change, one of the two prologue actors was incorrectly identified as Amaka Umeh and should have been noted as Diana Franz; this has been corrected.

Amicus Productions’ Cyrano De Bergerac a highly entertaining & moving adventure in wit, swordplay & love

cyranoandvalverthires
Valvert (Scott Simpson) challenges Cyrano (Chris Coculuzzi) to a duel.

Spent a highly entertaining afternoon at The Papermill Theatre (Todmorden Mills, 67 Pottery Rd.) yesterday, with Amicus Productions’ performance of Cyrano De Bergerac, written by Edmond Rostand, adapted by Chris Coculuzzi and Roxanne Deans, and directed by Mary Dwyer (Toronto Fringe fans may have seen their marvelous 80-minute memory play version of Cyrano, performed outdoors at the 2004 fest).

Amicus does a really nice job with this classic tale of the mercurial poet, philosopher and swordsman, whose unusually long nose is a distinct social liability among those who are unwilling or unable to look past it. This new, full-length version is a more linear piece of storytelling, hearkens back to Coculuzzi and Deans’ original script, based on the translations of Gladys Thomas, Mary F. Guillemard and Howard Thayer Kingsbury.

Excellent work from the cast, including several multi-tasking supporting players. Coculuzzi does a remarkable job in the title role, bringing a lively yet grounded combination of wit, grace and spleen to a man who, despite his rough edges and brash behaviour, is possessing of a vulnerable heart and a romantic soul. Celeste Van Vroenhoven gives us a nicely layered Roxane, sweet and loyal, also a romantic at heart, and naive at first about love and human behaviour – but unlike both Cyrano and Christian, fearless in the face of love. Paul Cotton does a nice job as Roxane’s earnest admirer Christian, hot and youthful in love – shallow, but not ill-meaning. The triangle here is a lovely illustration of superficial and deep love, both of which can be communicated via poetry and sweet words.

Derek Perks is deliciously diabolical as the smirking and snake-like De Guiche, the noble vying for Roxane’s affections – and not above playing dirty to win her. And Stephen Flett is a delight as the ebullient Ragueneau, the chef with the heart of a poet. And big shouts to Roxanne Deans for stepping in at the top of the show to stand in as Le Bret, when actor Henrik Thessen got stuck in traffic on the way to the theatre.

The design team did a marvelous job, producing a beautifully minimalist set – both practical and aesthetically pleasing – as well as assembling striking costume and evocative music of the period: Arash Eshghpour (set), David Buffham (lighting), Farnoosh Talebpour (costume) and Dave Fitzpatrick (sound). With kudos to Naomi Priddle Hunter for choreographing the exciting and fun sword fights.

Amicus Productions’ Cyrano De Bergerac is a highly entertaining and moving adventure in wit, swordplay and love. This is some big fun for all ages – so get yourselves over to the Papermill Theatre to see this.

cyranobalconyhires
Cyrano (Chris Coculuzzi) prompts Christian (Paul Cotton) as he woos Roxane (Celeste Van Vroenhoven)

Cyrano De Bergerac runs at the Papermill Theatre until November 22. You can get advance tickets online or by phone: 416-860-6176.

The real & the fantastical side by side @ Nora Camps’ ‘CAPRICCIO. Real & Imaginary’ exhibit

Artist Nora Camps opened her ‘CAPRICCIO. Real and Imaginary’ exhibit at the Papermill Gallery at Todmorden Mills this past Thursday night, with guest artists: Marietta Camps, MaryAnn Camps and Pamela Williams.

The title of the exhibit refers to landscape work, which can be whimsical and fantastical, even collage-like in its assembly of images. Nora Camps’ prolific work shows great variety and vibrant colour – from photography-based (like Spirited Forest, an archival photo print on canvas that combines images of women with trees), to graphic design-inspired (the Fade to Red 1-2-3 triptych) to abstract (the Open series, that bring to mind giant, intense yet benevolent eyes) to expressionistic (land/seascapes like Sound, Surf and Arriving). And she’s created several large wooden sculptures too – her take on the totem pole – and a four-minute film, a moving collage of dance clips, plays on a screen in the Papermill Theatre.

Marietta Camps, Camps’ mother and a local Vancouver Island artist, uses watercolour and oils to paint images recalled from her childhood in India. Works on display include bright and lovingly rendered portraits and landscapes.

MaryAnn Camps’ (Nora Camps’ sister) Cities at Night is a series of startling beautiful aerial perspectives – done in acrylic on canvas – of Montreal, London and Tokyo. These are the kind of magical, shimmering views you’d get if you were flying into that city at night.

Toronto Photographer Pamela Williams shows several of her remarkable black and white archival silver prints of cemetery monuments that she shot in Genoa and Rome, Italy; Paris, France; and Buenos Aires, Argentina. Both beautiful and melancholy, the marble statuary works are so masterfully sculpted – and so vividly presented in the photographs – that you would swear they could come to life at any moment.

Original music by Tom St. Louis, who sang for us at the grand piano, added to the intimate, engaging atmosphere in the Papermill Gallery – and the celebration of art and friends.

The Nora Camps and guests exhibit is up until September 7.

Here are some snaps I took from the event:

This slideshow requires JavaScript.