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.

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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.

Mental health takes centre stage in the mercurial, heart-wrenching, provocative adaptation Hamlet(s)

Skipping Stones Theatre gives us a new, contemporary take on the Shakespeare classic brings mental health front and centre with its mercurial, heart-wrenching, provocative adaptation Hamlet(s), directed by Sean O’Brien, supplemented by additional Shakespearian text; and opening last night to a sold out house at b current Studio in Artscape Wychwood Barns. Here, we have a Hamlet who’s literally and figuratively beside himself, played by two actors; a young man struggling with emerging Bipolar I as his world crumbles around him.

I never get tired of seeing how different theatre companies interpret and adapt Hamlet. Opening with “To be or not to be…,” Hamlet’s (Tristan Claxton and Kate McArthur) emerging mental illness is established off the top of Hamlet(s). The double casting turns soliloquies into Hamlet’s conversations with himself; and the effective tag team nature of his dialogue reveals a troubled, fractured mind rolling through manic, mixed and depressive episodes—with McArthur’s side of Hamlet taking on an inner voice quality.

This adaptation also examines the responses of friends and family to a loved one’s mental health crisis. Ophelia (Breanna Maloney) is featured more prominently, taking on a more active role; mindful and concerned about Hamlet’s welfare, she enlists the assistance of Hamlet’s friend Horatio (Liz Der). Conflicted and torn about telling her father Polonius (Mike Vitorovich) about Hamlet’s increasingly erratic behaviour, and unable to find another way to help him, Ophelia chooses to place her trust in a parent; this makes her subsequent mental breakdown following Polonius’s death—at Hamlet’s hand—all the more heartbreaking. And one can see how and why Horatio would consider taking her own life after all attempts at helping her friend have failed—and those who were supposed to help and care for him have only betrayed or neglected Hamlet.

Claudius (Tim MacLean) and Gertrude (Shalyn McFaul) are also concerned—he out of fear of exposure and losing his ill-gotten throne, and she out of guilt and neglected love—but are after a quick fix for Hamlet’s problem. Enter Hamlet’s old friends Rosencrantz (Felix Beauchamp) and Guildenstern (Tamara Freeman), summoned to cheer Hamlet up; but instead of genuinely listening to Hamlet, they offer mere positive spins to counter his intimations of what ails him.

Unable to level off and organize his rapid-fire thoughts and emotions, Hamlet’s in no shape to enact revenge on Claudius for the murder of his father. Directly responsible for the death of Polonius, and perhaps also feeling responsible for Ophelia’s subsequent breakdown and death, Hamlet eventually faces off with the vengeful Laertes (Erin Eldershaw) in what’s being sold as a friendly fencing match. Surprisingly calm and ready for death—one gets the impression that he may be opting for suicide by vendetta.

Remarkable, gripping, lazer-focused performances from Claxton and McArthur as the dual Hamlets; both revealing a full range of struggling, conflicted emotional and psychological experience—from dejected despair, to playful antics, quixotic exchanges and a-ha flashes of inspiration. It’s raw, real and present—fascinating, heart-wrenching and thought-provoking to watch.

Equally fine work from the rest of the ensemble, with Maloney’s ethereal, loving Ophelia and Der’s sweet, nerdy Horatio clearly the only ones who are truly on Hamlet’s side; desperate to help their friend, they’re both frustrated and baffled as they grasp for a solution. MacLean gives a slick, corporate edge to the pompous, entitled Claudius; and there’s a tinge of melancholy to McFaul’s cool, detached Gertrude. Vitorovich gives us some great comic turns as the intelligent but verbose Polonius and the cheeky, sharp-witted Gravedigger; and Eldershaw offers up compelling performances as the irreverent, fiery Laertes and the divalike First Player. And Beauchamp and Freeman are a great pair as the affable but duplicitous Rosencrantz and Guildenstern, who are more concerned about serving at Claudius’s pleasure than they are with helping their friend.

Those who aren’t protective of Hamlet’s health and welfare aren’t necessarily bad people—some are merely self-serving, clueless, in denial or negligent. And even those who strive to truly help find themselves spinning their wheels due to lack of awareness and subsequently missing what resources may be employed to help. Just like real life. A long neglected aspect of our health care system, we’re gradually seeing mental health come to the forefront. More of us are realizing that mental health is health.

Hamlet(s) continues in the b current Studio Theatre until November 24, with performances tonight (November 17) and November 22-24; please note the 7:30pm curtain time. Advance tickets available online—a good idea given the limited seating in this intimate venue, with a short run—at the door.

Shakesbeers Showdown 2018: Meet contestants Kaitlyn Riordan & Chanakya Mukherjee

 

Aaand our next intrepid contestants for First Folio supremacy in Shakesbeers Showdown 2018: Jurassic BARD hail from team Shakespeare in the Ruff. Introducing Kaitlyn Riordan (aka Kaitlyn “Frickin” Riordan, or maybe that’s just me) and Chanakya Mukherjee!

Kaitlyn-Riordan-10483-8x10-e1513023135751Contestant: Kaitlyn Riordan

Team: Shakespeare in the Ruff

Favourite play from the Shakespeare canon: Hamlet

Favourite character from the canon that you’ve played so far: Ophelia

Dream role from the canon: Henry V

 

Chanakya_Mukherjee_HeadshotContestant: Chanakya Mukherjee

Team: Shakespeare in the Ruff

Favourite play from the Shakespeare canon: Coriolanus

Favourite character from the canon that you’ve played so far: Pompey (Measure for Measure)

Dream role from the canon: Romeo

 

Advance tickets for Shakesbeers Showdown 2018: Jurassic BARD are available online.

Shakesbeers Showdown 2018: Meet contestant James Wallis

Time to meet another word warrior in the battle for Folio supremacy at Shakesbeers Showdown 2018: Jurassic BARD! Introducing James Wallis from team Shakespeare BASH’d!

Wallis_JamesContestant: James Wallis
Team: Shakespeare BASH’d

Favourite play from the Shakespeare canon: Romeo and Juliet
Favourite character from the canon that you’ve played so far: Richard III
Dream role from the canon: Falstaff

Advance tickets for Shakesbeers Showdown 2018: Jurassic BARD are available online.

Shakesbeers Showdown 2018: Meet contestant Donna the puppet (aka Erin Eldershaw)

Time to meet another contestant for First Folio supremacy at Shakesbeers Showdown 2018: Jurassic BARD. Introducing Donna the puppet and her human pal Erin Eldershaw from team Shakey-Shake and Friends Theatre Company!

donna & erinContestant: Donna the puppet (aka Erin Eldershaw)

Team: Shakey-Shake and Friends Theatre Company

Favourite play from the Shakespeare canon: Oh! But there are so many! Probably As You Like It. I’m a huuuge romantic and I love the scene where Orlando hangs poems in the trees about his beloved Rosalind, then Rosalind tricks him into wooing her every day. It’s adorable, I love a good comedy.

Favourite character from the canon that you’ve played so far: Tough call again! I would have to say it’s a toss-up between schemey, schemey Rosencrantz from Hamlet, or the love-struck Helena from A Midsummer Night’s Dream.

Dream role from the canon: Richard III. I think I could pull off a mean ol’ king pretty darn well.

Contestant: Kate McArthur
Team: Shakespeare BASH’d

Favourite play from the Shakespeare canon: Twelfth Night
Favourite character from the canon that you’ve played so far: Malvolio
Dream role from the canon: I’ve got something more like a top five…or ten. I usually just say “Whichever I am playing next!” Yeah, yeah. That’s a cop out. But for now, let’s go with Hamlet, because I can’t make a decision and won’t stop talking.

Advance tickets for Shakesbeers Showdown 2018: Jurassic BARD are available online.

Shakesbeers Showdown 2018: Meet contestants Breanna Maloney & Tristian Claxton

Meet two more Shakesbeers Showdown 2018: Jurassic BARD contestants today: Introducing Breanna Maloney and Tristan Claxton from team Skipping Stones Theatre.

 

Breanna headshotContestant: Breanna Maloney

Team: Skipping Stones Theatre

Favourite play from the Shakespeare canon: King Lear

Favourite character from the canon that you’ve played so far: Juliet

Dream role from the canon: Macbeth

 

Tristan Claxton HeadshotContestant: Tristan Claxton

Team: Skipping Stones Theatre

Favourite play from the Shakespeare canon: Hamlet

Favourite character from the canon that you’ve played so far: Mercutio

Dream role from the canon: King Lear

 

Advance tickets for Shakesbeers Showdown 2018: Jurassic BARD are available online.