Wistful, but hopeful—and perfectly illustrating her vibe as “Mary Poppins with a broken heart”—Melanie Peterson’s latest single “Sunshine” is a breath of TLC for a broken heart. And even more poignant is the fact that it’s being addressed to an ex in need of some heart healing.
The lyrics are full of wise and warm advice from a trusted friend, compassionate and positive—all delivered with Peterson’s sweet, lilting vocals.
Everybody loves Appa. When Paul Sun-Hyung Lee made his entrance as the Kim patriarch (marking his 423rd performance in the role) for Soulpepper Theatre’s remount of Ins Choi’s Kim’s Convenience, the packed house in the Michael Young Theatre at the Young Centre erupted into applause.
I first fell in love with Kim’s Convenience during its sold-out run in the 2011 Toronto Fringe Festival; arriving super early at the Bathurst Street Theatre (now the Randolph Academy) box office with my 10-play pass in hand (this was before my media accreditation). Then I had the pleasure of seeing Soulpepper’s production in May 2012 and fell in love all over again. I’m also a huge fan of the Canadian Screen Award-nominated TV series on CBC. So I was very happy when I, along with my friend Lizzie (who’d also seen it onstage twice before), had the opportunity to see it again last night.
Directed by Weyni Mengesha, Kim’s Convenience takes us along a day in the life of a mom and pop variety store in Toronto’s Regent Park neighbourhood. For those familiar with the TV show, there really is a Kim’s Convenience, located at Queen/Sherbourne—and the exterior of the store is used in the show. Unlike the TV series, however, the play is set around 10 years later, with Janet (Rosie Simon) and Jung (Richard Lee)* now in their early 30s. And Appa, who is nearing retirement, starts his day receiving an offer from a local real estate-connected friend Mr. Lee (Ronnie Rowe Jr.) to buy the store; and finds himself considering the future—especially in the face of urban development and neighbourhood gentrification. He and Umma (Jean Yoon) have a big decision to make. Do they sell? And, if they don’t sell, who will take over the store? For Appa, Kim’s Convenience is his story, his legacy.
Janet, still living at home and working as a professional photographer, has no interest in pursuing the family business. And her older brother Jung hasn’t been seen or heard from since he left home at 16—a point that comes up when a police officer named Alex (Rowe) arrives at the store to answer a 911 call Janet made at Appa’s insistence over an illegally parked Japanese-made car. Alex was a friend of Jung’s when they were kids, and they’d since lost touch; and this chance reunion with the Kim family paves the way for an opportunity for Janet, who used to follow him and Jung around like a puppy when they were kids.
Generational clashes of the immigrant parents vs. first generation Canadian children variety emerge. Appa, who was a teacher back in Korea, opened the store and worked seven days a week with no vacations in order to give his family a better life in Canada. Appa’s and Umma’s sacrifices and struggles were all for their children, and things didn’t turn out how they’d hoped. Janet is 30, still single and working in a job that Appa finds questionable. And their hopes for their son were destroyed when an altercation between Appa and Jung turned violent, and Jung left home and never came back. Appa has a temper, evidenced in a fight between him and Janet over what is owed to whom after years of service at the store.
Umma has secretly been staying in touch with Jung, who is still working at a car rental place—a job he hates—and now the father of a two-month-old boy. The two have a poignant and revealing meeting at their local Korean church, where the family sang together at church events; Jung alerting his presence by joining his mother in a beautiful Korean duet. It’s the last downtown Korean church, and it’s closing after the land was sold to developers; the remaining churches are all now in the suburbs. It’s a time of change and upheaval, for the family and the neighbourhood—and everyone has some choices to make about the future. And, in the end, Appa realizes that his story isn’t about the store—it’s about his children.
Such beautiful, solid work from the cast. Paul Sun-Hyung Lee has been the only Appa, performing throughout multiple remounts, Canada-wide tours and the TV series; the role was made for him and fits him like a glove. I can’t picture anyone else playing Appa. An outspoken, opinionated man possessing of a sharp mind and an eye for detail, Appa is a keen observer of human nature, with a head full of facts about Korean history and a mouth full of words of condemnation for Japan. Despite his quick temper and abrupt manner, he’s a good man with a cheeky sense of humour; and concerned about the security of his family and community. Yoon, who has been Umma to his Appa on stage and on the small screen, is a perfect match and complement as family matriarch Mrs. Kim. A gentle and devout soul, with the patience of a saint, Umma works behind the scenes of her family life to keep her family safe—even if secretly and from afar, as in the case with Jung.
Simon gives a feisty, energetic performance as Janet, who has the wit to hold her own in mercurial, philosophical—often hilarious—banter with Appa. An independent young woman who can hold her own, she pushes back when her work, which she loves, gets called into question. Richard Lee does a great job mining Jung’s layers of conflict; restless, adrift and now a father himself, regret and longing come to the surface. Like his father, he too must consider the future—for himself and his young family.
Rowe does an awesome job playing four very different characters: store customers Rich (who gets schooled on the difference between ginseng and insam) and Jamaican Mike (who gets schooled on “steal”); the affable and empathetic Mr. Lee; and Alex the cop, who finds himself looking at Janet differently now that they’re both grown up (and gets schooled in courting in a hysterically unusual way by Appa).
It’s funny, it’s touching, it’s genuine. And even though it’s about a Korean Canadian family living in Toronto, the universal themes of love, family, forgiveness and legacy resonate no matter who you are or where you come from. And the standing ovation Kim’s Convenience got last night spoke volumes about the love audiences have for the show.
Kim’s Convenience continues the Michael Young Theatre in the Young Centre; booking in advance is strongly recommended. Get your advance tix online or by calling the box office at 416-866-8666.
Red Sandcastle Theatre A.D. Rosemary Doyle has teamed up with Jennifer Watson and Dorian Hart to launch The Wilde Festival, which opened with its inaugural production of Neil Titley’s one-man show Introducing Mr. Wilde, or Work is the Curse of the Drinking Class at Red Sandcastle’s storefront space at Queen St. East and Logan, Toronto last week.
Hart sets the tone for Titley’s intimate performance with a pre-show selection of beautiful nocturnes by Irish composer/pianist John Field, who invented the Nocturne. Field’s work served as an inspiration for Frederic Chopin’s compositions—and Chopin was a favourite of Wilde’s.
Introducing Mr. Wilde is performed in three parts. When Titley first appears onstage, it is as himself—in affable, accessible lecturer mode. Engaging and entertaining, he offers up a brief history of the show—which has been performed all over the world and to great acclaim at the Edinburgh Festival—and a quick timeline overview of Wilde’s life. In particular, we track Wilde’s 1882 lecture tour to Toronto; and Titley found the only venue still standing, not demolished or destroyed by fire, is Niagara Falls. And Wilde was apparently unimpressed by the great wonder of nature. Perhaps he only saw the American side.
Then, something truly remarkable happens. Titley transports us to 1898, to a Paris café where he shifts from himself as 2017 lecturer to Oscar Wilde, a year after he was released from his two-year prison sentence. The transformation is remarkable, both physically and vocally. As Wilde, he regales us with thoughts and anecdotes—with razor sharp wit, charm, unapologetic irreverence, and disdain for the mediocre and disingenuous. It’s not all fun and satire, though. There is an impassioned, deeply moving account of his experience in jail; and combined with that keen observation and ability to poke fun at society, it makes for a lovely nuanced, mercurial and poignant performance. Titley masterfully evokes the energy of Wilde; so much so, you can feel you’re sitting in the room with him.
Through it all, even when times are at their roughest, we see a man intent on pursuing a life of pleasure, art and beauty. Sucking the marrow out of life, even in his final days of penury and failing health, Wilde is the soul of wit to the end—a man who made the most of his life until his death at 46 in a Paris hotel.
We then return to 2017 to a short Q&A with Titley, during which one audience member asked if it was true that Wilde’s final words were “One of us has to go,” referring to the wallpaper in his hotel room. It’s highly likely. However, there is some question about his death bed conversion to Catholicism; it’s possible that his gesture in response to Ross’s query to bring a priest was misinterpreted—and he wasn’t signaling affirmation, but rather reaching for a cigarette. So his conversion could have been entirely accidental.
This is a must for all Oscar Wilde fans—or even if you’re just curious about the man. Whether you know a lot or nothing about him, it’s an entertaining and informative ride. I hear Titley is heading out on a cross-country train trip next week. If VIA Rail is smart, they’ll let him perform the show on the train.
A delightful, insightful evening with Oscar in lecture and first-person musings in the witty, thoughtful Introducing Mr. Wilde, or Work is the Curse of the Drinking Class.
Introducing Mr. Wilde, or Work is the Curse of the Drinking Class continues at Red Sandcastle until Jan 15; reserve your spot in advance by emailing firstname.lastname@example.org or by calling 416-845-9411.
Written by Drew Carnwath and Sam Rosenthal, and directed by Rosenthal, assisted by Nicola Pantin, the Hogtown Experience is an immersive, site-specific theatrical event that puts you in the middle of the action, which includes over 30 actors and live music, as you rub elbows with politicians, union muscle, gangsters, speakeasy girls, temperance ladies, party girls, moonshiners, a lady doctor and a baseball star.
When you arrive at Campbell House (I’d suggest getting there half an hour before show time), you may wander the grounds and the house. Catch some jazz in the basement speakeasy or get an early introduction to some of the characters on the front lawn, where the Temperance ladies are protesting the evils of drink, and mayoral candidate Sam McBride (David Rosser) and his wife Fanny (Kirstin Rae Hinton) are greeting and glad-handing, and the small-town Busch brothers (Matthew Bradley and Tim Ziegler) are anxiously anticipating a meeting with Delacourt to pitch their moonshine. Or wander towards the back, where the Schwartz brothers (Scott McCulloch and Jorge Molina) talk business and the wily, opportunistic Tracey Doyle (Dov Mickelson) inspects his girls before they start their shift – one of which (Anastasia, played by Laura Harding in last night’s performance) makes an appointment with the friendly, socially aware local doctor Libby Prowse (Lori Nancy Kalamanski) for her friend/co-worker Maddy (Lea Beauvais). And there’s a rambunctious, playful and strange little girl (Claire Frances Muir) running around there too.
Newspaper man Ben Stein (Carnwath), who’s dating the McBride’s daughter Ronnie (Sappho Hansen Smythe,* who has been playing the role this summer), gives us an introduction and some ground rules. We are here for a party at the home of union boss Bob Delacourt (David Keeley) on the night before the 1926 municipal election, where the conservative, tee-totalling, penny-pinching incumbent Mayor Thomas Foster (Jerome Bourgault) is up against the more progressive, alcohol-friendly and forward-thinking McBride. From there, the audience is divided into three groups, and each group is guided to a room in the house to start their rotation of three scenes. You may speak to the characters, but only when spoken to.
My group was first taken upstairs to the ballroom, to a meeting of the Christian Women’s Temperance Union, led by the imperious President Mary O’Grady Hunt (Tara Baxendale), where we hear anecdotes of personal family tragedy that resulted from intoxication. We were then treated to a lively and intense dining room scene, where the McBrides and their supporters – including Delacourt, who remained eerily silent and stone-faced – toasted their good fortune, and a surprise guest made an appearance, decidedly spoiling the good cheer. Then it was down to the games room, where our cheeky hostess Katie (Siobhan Richardson) took all bets, including one from the jovial Police Chief Draper (Robert Clarke); and over to the speakeasy for drinks (cash bar, where you can order wine in a teacup or a can of beer in a paper bag) and music, overseen and kept running smoothly by the tough, but gentleman-like Donato Granta (Conrad Bergschneider).
From there, where you go and what you see is up to you. You are encouraged to give rein to curiosity and follow characters, open doors – and see what you may find. Young love. Backroom deals upon backroom deals. Desperate, last-ditch efforts to win a race. One of the speakeasy girls in trouble. You won’t be able to catch everything, and you may want to see the show more than once; to this end, keep your program (handed out as you leave) and that will serve as your discount voucher for your next visit. And with all the election and boozy shenanigans – not to mention the red hot jazz – you may want to take them up on that deal.
An outstanding ensemble and fabulous music, creating a unique, intriguing and engaging theatrical experience, and a colourful taste of 1920s Toronto. This humble scribe had a marvelous time at the pre-election soiree at Campbell House last night. The Hogtown Experience is the bee’s knees – go see it!
In the meantime, you can keep up with Hogtown on Twitter and Facebook; and check out the show trailer:
* Department of Corrections: The role of Ronnie McBride, previously attributed to Dana Fradkin, was actually played by Sappho Hansen Smythe. Due to the scope of the show and the size of the ensemble, there is a rotating cast, so some characters are played by different actors, depending on when you see the show.
LWMC: Hey busy lady, congrats on this exciting commission from Outside the March. How did you come to be involved in 100 Outside Voices?
VS: Hey thanks! Yeah, Mitchell Cushman approached me and asked if I could write a 100-line poem that could double as a love letter to our city, and a bit of a manifesto for why we tell stories, especially in a site-specific way throughout Toronto. It would celebrate the 100 artists Outside the March has employed, and also be an inventive way to invite fundraisers for the campaign. Much of my poetry is about personal experience, so it was nice to look outward for this one, wonder about something bigger.
LWMC: What can you tell us about the genesis of the piece and your writing process? Any particular inspiration(s) or impetus?
VS: I’ve often come to Mitchell when I’m creating or developing new work. He acted as an ad hoc director to me for my solo show In Case We Disappear, and he’s always been very encouraging of my writing and exploring. For this one, I was intrigued, but had no idea where to start. How could I speak on behalf of everyone who lives in Toronto, who cares about it? How could I capture all of that in one poem? I felt I couldn’t possibly capture everything, and on the day I started writing it, I was actually feeling really down, really uninspired. I ended up wandering around the city, walking my favourite places, riding streetcars with no destination in mind, just getting close to the city – spending time with it, seeing if I could gaze at it, listen to it. I ended up recalling the people and memories that are borne out of the city. The things that animate and give the city its life and its breath. It became about the things we care about – how traces of that care are all over our city, and how if all of it vanished – what we’d lose. It’s not meant to speak on behalf of everyone, but is instead an offering of love to the city and the people who care about it.
LWMC: How and where it will be performed? And can you tell us about any of the actors you have onboard?
VS: 100 artists are each assigned one of the 100 lines. And they’re not just actors. Designers, writers, all of OtM’s artists. They go to their favourite place in the city, and speak the line (recording it with their phone). We stitch them all together so the poem literally becomes this 100-person offering – all of us celebrating our mutual playground.
LWMC: The big, multimedia reveal will be this Fall. When and where will folks be able to see the full piece?
VS: Outside the March tends to operate with an exciting bit of mystery. I’m not sure the details of the reveal yet. My guess is it’ll be some kind of gesture. Something that celebrates the multiple voices of our city.
LWMC: 100 Outside Voices is also a fundraiser for Outside the March – and folks can donate on the project’s Canada Helps site. Anything else we should know about 100 Outside Voices?
VS: 100-voices.com is the website for all the details. It’s funny too, since writing the poem, I’ve had more thoughts about our city, more layers that I wish I could’ve explored in the poem, which – though frustrating at times – is such a nice reminder of the uncountable parts of where we live, and how even our act of celebrating it – though never finished – makes us curious to keep learning about it, keep listening to it.
LWMC: I like to finish up with James Lipton’s Pivot questionnaire: What’s your favourite word?
VS: Yes. Home. Please.
LWMC: What’s your least favourite word?
VS: I like a lot of words. Maybe “your,” spelled wrong.
LWMC: What turns you on?
VS: Kindness. Being physically present. People talking about what they love. People not giving a f*ck. Spontaneity.
LWMC: What turns you off?
VS: Rudeness. Piercing, complaining voices.
LWMC: What sound or noise do you love?
VS: Computer keys being tapped really fast. My nephews laughing. Rain falling on the lake. When you’re walking through a forest and you can hear the water nearby before you see it.
LWMC: What sound or noise do you hate?
VS: People filing their nails. The sound of the dance floor on a Saturday night at 2am at a bar I used to work at. The sound would be murderous.
LWMC: What is your favourite curse word?
LWMC: What profession other than your own would you like to pursue?
VS: I’d like to start a company that did something good, helped young people feel free, more themselves.
LWMC: What profession would you not like to do?
VS: Sell used cars. Unless it was just for a day, and I could be really bad at it.
LWMC: If Heaven exists, what would you like to hear God say when you arrive at the Pearly Gates?
VS: Hello again, my friend. Hello.
Keep an eye out for Outside the March’s production of Vanessa Smythe’s 100 Outside Voices in Fall 2016. In the meantime, take a look at the teaser trailer:
Impressions – Mina Vedut, Alice Song, Andrea Ng, Alice Chen @ Wychwood Barns
Hive (2.0) – Hopkins Duffield @ Wychwood Barns
Dried Beans Models of the Universe from the Department of Household Sciences and Advanced Proverbs – John Shipman @ St. Matthews United Church (which also included a helping of very tasty vegetarian chili)