Landon & Matt’s most excellent interdimensional adventure in the playful, imaginative Life in a Box

Top to bottom: Matthew Finlan & Landon Doak. Photo by Fiona Sauder.

 

Bad Hats Theatre takes us on a most excellent interdimensional adventure with its live episodic TV musical Life in a Box; music and lyrics by Landon Doak, book by Matthew Finlan and directed by Fiona Sauder. When two fun-loving BFF/roommates survive a solar flare that turns the Earth into a burnt marshmallow, they travel back in time in an attempt to avert disaster in this hilarious, imaginative and playful trip of friendship, quantum physics and legal weed enjoyment. Better late than never for me as I joined this party with a friend at the Grand Canyon Theatre last night.

Played out as three episodes of a TV show called Life in a Box—the playing area and staging set within a cut-out, drawn-on TV screen window on a canvas screen—characters Landon (Landon Doak) and Matt (Matthew Finlan) are actors, best friends and roommates who share a basement apartment, good times and some good weed in Toronto. Their rambunctious fun is interrupted when Earth is hit by a solar flare, turning most of it into a burnt wasteland—prompting the boys to come up with a plan to save the world. Thanks to Matt’s book smarts, they’re able to construct a rudimentary time machine and travel back in time to warn their past selves and alert the authorities of the impending apocalypse.

They take a trip through time and land in 2013, but things don’t go as planned—especially on the trip back to the future—and both must rely on their wits and instinct to make it back to 2019. To keep hope alive, they must remember Matt’s motto: “There’s always a way.”

Featuring great tunes—inspired by music theatre stylings, rock and rap—delivered by some impressive vocals from Doak (who also plays acoustic guitar and ukulele) and Finlan (with sound design, arrangements and production by Lyon Smith, assisted by Victor Pokinko), Life in a Box is a big fun, musical comedy TV show adventure that incorporates physical theatre and even commercials shouting out production sponsors, delivered live (like in Prairie Home Companion).

Doak and Finlan give outstanding, high-octane performances as the two dudes on a mission; friendship, loyalty and a dedication to having fun make for an entertaining and endearing bromance adventure. Complementary opposites, Doak brings a child-like sense of wonder and playfulness to Landon; while not academically smart, Landon is resourceful and always has an emergency joint on hand. Finlan’s actor/dancer Matt carries off sharp wit and invention with slapdash ease; a positive, hopeful force for the pair, Matt’s extensive reading and ability to improvise the science take them on a journey neither could have imagined in their wildest dreams or most excellent highs.

With shouts to set designer Remington North and lighting designer Steve Vargo for their work on this awesome, trippy environment, featuring a behind the screen apparatus that allows for climbing and all kinds of play structure-enabled action. And to Rebecca Ballarin, who directed the original two-episode production at Toronto Fringe 2018.

Life in a Box is in its final week, closing on September 28 at the Grand Canyon Theatre (2 Osler St., Toronto); advance tickets available online. While you’re waiting for the show to start (or during intermission), get yourself a beverage and a snack box at the bar (snack boxes include a yummy selection of treats, plus a raffle ticket for an awesome prize!). Note: Due to mature themes, this is an adult musical.

 

Toronto Fringe: The devastating ripples of the Montreal massacre in the sensitive, intimate, heartbreaking The December Man (L’homme de Décembre)

Stephen Flett, Jonas Trottier & Kris Langille. Photo by Steven Nederveen.

 

Theatre@Eastminster closed its sensitive, intimate and heartbreaking production of Colleen Murphy’s The December Man (L’homme de Décembre), directed by Jennifer C.D. Thomson, yesterday afternoon at Eastminster United Church. As the narrative turns back time, we witness the devastating impact of the Montreal massacre on a working class family, whose son survived the tragedy.

Their lives shattered by their son’s suicide, Benoît (Stephen Flett) and Kathleen (Kris Langille) Fournier are taking drastic measures to deal with their pain. Loving, well-meaning parents, operating during a time and place where people didn’t have the awareness or resources to navigate the personal aftermath of a massive tragedy, they encourage their son to continue with his education as an engineer, to let go of those tragic events and move on with his life. How could they not have seen it coming? And what could they have done differently?

But Jean (Jonas Trottier) has been having nightmares, he’s been skipping classes—he can’t go back into that building—and his grades have been falling. Guilt-ridden and constantly second-guessing his actions that day, he takes karate classes so he won’t be so scared and powerless “the next time;” and won’t run away again. A natural reaction, to follow the instructions of an unstable man with a gun, then run like hell and call 911—but still, Jean can’t help but beat himself up over what he could’ve and should’ve done, reliving the horrific events over and over.

Beautiful, deeply poignant work from the cast in this powerful piece of how the devastating ripples of this national tragedy crash against this family. Lovely, tender, even humourous, performances from Flett and Langille as the amiable Benoît and devout Kathleen—in everyday household moments, and in their struggle to understand what their son is going through. In the days following Jean’s suicide, they fall into despair, with Benoît reaching for the bottle and Kathleen on extended leave from her housekeeping job, staying home to knit toques and scarves for a children’s charity. As Jean, Trottier digs deep to excavate the guilt, shame and self-blame of a survivor living with PTSD and paralyzing self-doubt; his dreams of becoming an engineer destroyed by the horrific memories of his female classmates’ deaths that he can’t get out of his head, and haunting fact that they’ll never get to build anything.

Heartbreaking in its realism and intimacy, you know events surrounding this story but you don’t necessarily know the stories of the aftermath: the survivors, friends and family left behind to cope with their loss and grief. A reminder that we need to be mindful and aware of the silent, deadly reverberations of senseless violence in our schools, shopping malls and on our streets.

With shouts to the cast of voice-over actors: Scott Bell, Eric Démoré, Sean Gorman, Samuel Magnan, Christian Martel and Susan Wakefield. To the design team for incredible use of the community (aka parlor) space at Eastminster United Church, including use of existing lighting: Ron McKay (set), Chris Bennett (lighting), Monica Sousa (sound), and Ann McIlwraith and Bev Falk (costume). And to the small army of stage managers, dressers and running crew, who kept all the moving parts running smoothly and efficiently during multiple scene changes—as we witness this family’s story in reverse.

Keep your eyes open for future Theatre@Eastminster productions.

Toronto Fringe: Twelfth Night from Malvolio’s perspective in the riveting, visceral and cerebral I, Malvolio

Justin Otto. Photo by John Gundy.

 

impel theatre gives us Malvolio’s perspective of the events from Shakespeare’s comedy Twelfth Night in Tim Crouch’s riveting, visceral, cerebral I, Malvolio, directed by Kendra Jones, assisted by clown consultant Calvin Peterson. I, Malvolio had its closing performance at the Smart Cookie Club at Artscape Youngplace last night.

As we prepare to enter the theatre, we’re given a Student Theatre Evaluation Form, with five questions about the presentation we’re about to see; here, we are middle school students and a guest speaker will be joining us. The chairs within room 109 are both child- and adult-sized; and we can also choose to sit on a cushion on the floor; we are invited to make ourselves comfortable, and participate—and even leave—as we like.

Dressed in yellow socks, black shorts and a worn t-shirt with yellow suspenders, and sporting clown makeup, Malvolio (Justin Otto) sits on the floor, reading a love letter—purportedly from his mistress Olivia, but actually a practical joke instigated by her uncle Sir Toby Belch, with the help of conspirators within the household. He maintains throughout that he is not mad, but does he protest too much? Turning his attention to us, like an overly strict substitute teacher, he snaps at us to correct our posture and turns accuser, and making us complicit in the practical joke that went too far against him. If we’re going to behave like children, we’re going to be treated like children. And he will have his revenge upon us all.

He takes us through the story we know from Twelfth Night from his point of view. How he takes his job as Olivia’s Steward very seriously; his hawk-eyed attention ever set on keeping order, cleanliness and decorum within the household. How his uncharacteristic behaviour was inspired by a love letter he thought was written in earnest; and how he was locked up in the dark and filth as a madman—only to be released to learn it was all a joke, and his beloved mistress has married a man she’s known for less than a day! And what about the crazy goings-on of the others? Viola dressing as a man. The love triangle between Olivia, Viola and Orsino. And Viola’s twin Sebastian agreeing to marry Olivia after knowing her less than a day!

Otto is a compelling presence, giving a performance that is grounded in his body, both visceral and cerebral as he lays out Malvolio’s arguments. Playing Devil’s advocate as he sets out this other perspective of the story, he forces us to examine our responses to mean-spirited practical jokes and bullying, as Malvolio rages on, reliving the pain, trauma and humiliation of what was done to him. And considers what form his revenge will take as he draws willing audience members into his plan of action. Malvolio isn’t mad—but he is broken and struggling to regain his sense of identity and equilibrium.

Sure, Malvolio is an overly proud, self-righteous, humourless, insipid man. He also has a fastidious attention to detail, order and management, making him excellent at his job. And he didn’t deserve to be treated so.

Keep your eyes peeled for future impel theatre productions.

Toronto Fringe: Joy, sadness & an unexpected friendship in the playful, imaginative, touching Beneath the Bed

In bed: Erin Humphry. Clockwise, from bottom left: Lindsay Wu, Elizabeth Staples, John Wamsley & Keaton Kwok. Photo by Bryn Kennedy.

 

Theatre Born Between takes us to a world of childhood and the creatures that live under our beds in the playful, touching Beneath the Bed, a tale of loss and trauma—and an unexpected friendship. Written by Gabriel Golin and directed by Bryn Kennedy, with music composition by Lucas Penner, music, puppetry, dress-up and everyday objects imaginatively employed combine to tell a story of joy, sadness and back again. It’s story time for all ages, running at the Scadding Court Community Centre, Room 4.

When a Child (Erin Humphry) loses her Mom (Elizabeth Staples), her room becomes her refuge as she searches for her mother in the stars out her window, her mother’s haunting lullaby never forgotten. One night, a Monster (Graham Conway) appears from under her bed. Annoyed that the Child’s tears and sadness make her unfit to eat, he attempts to make her happy; and while his efforts may initially be for selfish reasons, a bond grows between them—and he becomes her protector from the real monster in the house.

Years later, the Monster appears in a new bedroom to find a new Child (Lindsay Wu); his friend has grown up and become a mother herself. This new Child has an outgoing personality and a vivid imagination, and loves playing games of make-believe—becoming a pirate on the high seas or an astronaut exploring the stars and battling space aliens. And although the Monster doesn’t understand her games, he plays along—even though his friend, now a mother, doesn’t want him speaking to her child. Feeling that her mom is keeping her too close, the Child runs away. Despite his fear of leaving the bedroom, and the great danger posed by daylight, the Monster ventures out to find her.

Lovely work from the cast in this beautiful, moving and delightful journey. Humphry’s Child has wisdom beyond her years; pensive and observant, she finds strength and resilience despite her grief and isolation. But the trauma of her childhood makes her a fearful adult, and nurturing turns to smothering as she desperately tries to protect her child from the world. Conway is a treat as the Monster; all gruff and growl at first, he’s a softie underneath—his initial malice melting as he turns from predator to protector. Wu is adorably fierce as the second Child; forced to live largely in her imagination, she struggles for independence and growth.

Rounding out the cast are the spritely Whispers—Keaton Kwok and John Wamsley (also Staples and Wu)—who create the sights, sounds and physical environment as the story unfolds. Everyday objects become monsters, sunsets, constellations, the headlights of a car; and, from the booth, stage manager Caitlin Brenneman creates sound effects with a toy xylophone and everyday things.

A good reminder—for children of all ages—that endings aren’t always entirely happy, but we can hope that things will be better tomorrow and feel gratitude for those moments of joy and the friends who help us get there.

Beneath the Bed continues in the Scadding Court Community Centre, Room 4 with one more performance today (July 14) at 2:00; tickets available at the door only today. Seating is limited, so you may want to arrive early.

Toronto Fringe: Madcap comedy & love a winning combination in the playful, mercurial The Taming of the Shrew

Chris Coculuzzi & Alexandra Milne. Photo by Kathy Plamondon.

 

Aquarius Players bring Shakespeare to the Fringe stage with their madcap, playful production of The Taming of the Shrew, directed by Nicole Arends and running in the St. George the Martyr Courtyard.

Baptista (Scott Moore) has two daughters: the wild Katherine (Alexandra Milne) and the sweet Bianca (Greta Whipple). Bianca has a few suitors on the scene: older locals Hortensio (Chris Irving) and Gremio (Daryn DeWalt); and a new face in town, the young Lucentio (Michael Pearson), who is smitten on sight. Problem is, Baptista is determined to marry Katherine off first—but no one will have her.

Enter Petruchio (Chris Coculuzzi), who has recently inherited his father’s estate and is out in the world looking for adventure. Hortensio and Gremio convince him to woo Katherine—exulting her great dowry and father’s wealth—so they may continue their suits with Bianca. Meanwhile, Lucentio has hatched a plan of his own, switching places with his servant Tranio (Paige Madsen), who will run interference with the other suitors and press his suit to Bianca while he inserts himself into Baptista’s home as a tutor. Here, he winds up in hilarious competition with Hortensio, also in disguise as a tutor.

Petruchio marries Katherine and takes her to his home, assuming extreme, erratic and bizarre behaviour himself to gradually calm her and get her rage under control. His servants Grumio (Elaine O’Neal) and Curtis (Christina Leonard, who also plays Lucentio’s sax-playing servant Biondello, who leads us around the courtyard as the scenes change) are both in on and puzzled by all of this. It all becomes a crazy game of ‘Petruchio says,’ and he and Katherine fall in love as her cold, hardened heart melts.

Lucentio and Tranio have a few more tricks up their sleeves, including disguising a wandering Pedant (Irving) as Lucentio’s father Vincentio, who will vouch for Lucentio’s character and station to Baptista—a decision that blows their cover when the real Vincentio (DeWalt) shows up. By then, Lucentio and Bianca are already married; and their agreeable fathers forgive them as they host a wedding feast for friends and family. And, with the mad cap craziness of the Petruchio/Katherine dynamic, Katherine’s final speech advising wives to follow their husbands’ lead—though still challenging by today’s standards—becomes an argument for wives to take the lead on maintaining peace and serenity in the household.

The cast is an entertaining delight in this lively 90-minute outdoor Shakespearean romp of love, disguise, competition and well-meaning manipulation. Coculuzzi and Milne are nicely matched as the patient, meticulous rogue Petruchio and the enraged, neglected wildcat Katherine; her extreme internal rage boiling over to the surface, she behaves like a wild animal—and he applies a remedy appropriate to taming a wild creature, with great care and calculation. They are nicely supported by the ensemble, especially Whipple’s bratty favourite daughter Bianca; Pearson’s lusty, love-struck Lucentio; Madsen as the puckish wise servant Tranio; and Leonard’s awkward child-like Biondello. And Irving and DeWalt give great comic turns as Bianca’s thwarted suitors, with Irving doing hilarious double duty as the saucy, likely drunken, Pedant.

With the mercurial word play, and imaginative physicality and comedy, this Shrew is a mad world of rage and love—with wacky desperate situations requiring equally wacky desperate measures—and love wins in the end.

The Taming of the Shrew continues in the St. George the Martyr Courtyard, with two more performances: today (July 13) and July 14 at 2:00; check the show page for advance tickets. Chairs are available in and around the courtyard for those who need them; otherwise, there are blankets to sit on.

Missed a show or want to see it again? Check out the latest Fringe announcements: Fringe Awards & Patron’s Picks and Best of the Fringe.

Toronto Fringe: Conflict, family & connection in the compelling, moving Checkpoint 300

Back: Brittany Cope. Front: Ori Black & Lizette Mynhardt. Photo by Adrianna Prosser.

 

Tamaya Productions, this year’s winner of Fringe’s First Play Competition, presents Checkpoint 300, written and directed by Michelle Wise, assisted by Duncan Rowe, and running in the Factory Theatre Mainspace. A tragic incident at the Israel-Palestine border involving the first female soldier assigned to a checkpoint brings two women from opposite sides together as the soldier deals with the aftermath and a reporter looks for answers in this compelling, moving story.

Shiri (Lizette Mynhardt), a young Israeli soldier, has just completed punishing training and rigourous testing in order to be the first female soldier assigned to an Israel-Palestine border checkpoint. Her mother Tivka (Jorie Morrow) is concerned but supportive, and her father Benny (Geoff Mays) worries and wonders why she couldn’t have aimed for a safer office position. Shiri’s commanding officer Shay (Ori Black) is taken aback by the posting, but takes it in stride, acknowledging that she’s passed the same training and testing the male soldiers have, and makes a place for her on the team.

On the Palestinian side, reporter Amelie (Brittany Cope) leaves her family home for Paris, for a life away from the oppressive environment of constant policing, control and monitoring. Her gentle, easy-going father Bashir (Mays) and mother Nabila (Morrow) want her close to home, and on a more traditional path, including a husband and family. Her younger brother Walid (Amir Pour) works with their father as a mechanic when he’s not playing soccer.

Amelie and Shiri are brought together following a tragic incident at the checkpoint, where an Israeli soldier and a Palestinian man were killed—the latter a terrorist suspect. Shiri refuses to speak of the incident to anyone, and her mother arranges a meeting with Amelie in the hopes that Shiri will get to tell her side, and achieve some closure and relief. And as the story unfolds, Shiri and Amelie’s personal connections to the incident are revealed.

Lovely work from the cast in this often intense tale of conflict, family and connection; and where everyday life proceeds with humour and a sense of pragmatism, coloured by which side of the border one lives on. Mynhardt’s Shiri is a tightly coiled combination of determined ambition and nervous anticipation; Shiri wants to do something that makes a difference, but is all too aware of the many eyes on her with this historic posting. Cope’s performance as Amelie reveals a sense of resilience, drive and heart; like Shiri, Amelie is an ambitious, hard-working professional in a male-dominated field—and must now navigate personal feelings as she seeks to find the truth.

Black is a likeable, irreverent, and highly skilled leader as Shay; not too sure how this girl at the checkpoint thing is going to work, Shay takes a professional attitude and becomes a mentor to the rookie Shiri. Pour brings a sense of fun and mischief to the cocky youth Walid; clocking time at the shop with his father, he dreams of a life away from there—and glory on the soccer pitch. The casting of Morrow and Mays as both sets of parents is both fitting and poignant here, as it serves to highlight the commonalities on opposite sides of the border. Parents worry and try to usher their children toward what they think is best for them. And, no matter where they are, they want much the same thing: for their families to be safe and for their children to have a good future.

Even in an environment of conflict, opposing sides always have something in common—a way to connect. But easier said than done when fear and mistrust run so deep and for so long. Can hope and love have a chance?

Checkpoint 300 continues in the Factory Theatre Mainspace for two more performances: July 13 at 10:15 and July 14 at 4:00; check the show page for advance tickets.

Toronto Fringe: Into the mouth of the sea lion with the absurd surreal sketch comedy of Swallowed Whole

Carly Telford, Chris O’Bray & Raechel Fisher. Photo by Laura-Kate Dymond.

 

Irrelephant Productions takes us into the mouth of the sea lion for 55 minutes of absurd sketch comedy, peppered with drag performance and social satire in the wacky, surreal Swallowed Whole, written and directed by Rachel Perry, and running at the Helen Gardiner Phelan Playhouse.

Sketch comedy trio Chris O’Bray, Raechel Fisher and Carly Telford take us through a series of comedic, sometimes bizarre, scenarios: a cooking show for poor people, hosted by O’Bray in old lady drag; and a pair of entitled, dick-obsessed slackers (Fisher and Telford in drag) get broromantic to the tune of You Don’t Bring Me Flowers—returning later with O’Bray in a three-man boy band. There’s the misadventures of Calvin (O’Bray), who finds himself trapped in the oddest places—and his pissed of (recent) ex (Fisher), Olive Garden manager (Fisher), and even his mom (Telford) and dad (Fisher) refuse to help. And then there’s the Ouija Board Dating Game, where bachelorette Demi (Fisher) poses a series of compatibility questions to three dead celebrity bachelors (Telford, O’Bray and a surprise guest).

Shouts to the cast for going all-out in their commitment to character and outrageous antics. Telford and Fisher are especially funny as the two slacker bros; and O’Bray’s cooking lady is something of a low-rent Julia Child. And nice work from the trio on the boy band harmonies!

It’s a mad, mad work of bizarre wacky times. And you can wash it all down with a Dougie Ford Buck a Beer beer while you bop your head to the music and marvel at humanity’s endless quirks.

Swallowed Whole continues at the Helen Gardiner Phelan Playhouse for two more performances: July 13 at 6:45 and July 14 at 8:00; check the show page for advance tickets.