Sex, death, snakes & the healing power of flowers & family in Red Betty Theatre & the G Girls’ political, theatrical Ganga’s Ganja

We struggle in birth. We struggle in death.

I popped over to Geary Lane last night for Storefront Theatre’s presentation of Red Betty Theatre and the G Girls’ production of Radha S. Menon’s Ganga’s Ganja, directed by Jennie Esdale. Ganga’s Ganja headlines the Feminist Fuck It Festival (FFIF), a two-week curated festival of multidisciplinary women and non-binary-identifying artists presenting new, bold and entertaining works.

Set sometime in the not too distant future, sisters Mena (Pam Patel) and Ganga (Senjuti Aurora Sarker) have gone off the grid, living on a piece of land where Ganga grows and tends to medicinal marijuana to help ease Mena’s excruciating Multiple Sclerosis symptoms and give her some quality of life. Ever moving in and out of Mena’s consciousness is Kadru (Amanda DeFreitas), a black and gold snake that only Mena can see. Is Mena hallucinating or is Kadru her escort into the next life?

While Mena self-medicates with weed, deeply inhaling the smoke like oxygen, Ganga’s medicine is one-night stands that often keep her out all night, always returning to her caregiving in the morning. Mena is afraid of leaving Ganga alone, and Ganga is terrified of losing Mena. When their marijuana crop is stolen and they meet the fast-talking, charmer Nero (Jesse Horvath), a man with a shiny silver briefcase and a lot of ideas, the sisters’ world is turned upside down. In a world where non-prescription drugs have been criminalized, but big pharma is happy to use plants to create their products, who can they trust—and how will they find a way to let go of each other?

Political and theatrical, the themes of sex, death and alternative medicine combine with feminism, Hindu deities and sticking it to the man. Patel and Sarker have great chemistry as the sisters; and do a nice job layering their respective inner and outer conflicts. Patel’s Mena is cheerful and positive, despite her devastating diagnosis—this all masking her concern, which is more for her sister than for herself. Mena wants to die, to leave her suffering behind and start over in the next life, but she can’t bring herself to leave Ganga. As Ganga, Sarker is a combination of attentive caregiver and devil-may-care party girl; drowning her guilt and fear in random hook-ups, Ganga struggles with the harsh truth that Mena doesn’t have much time left. DeFreitas brings a sensual and fierce edge to Kadru; ever watchful and ever waiting, Kadru is not the menace she appears to be—and appears to represent the faith, tradition and ritual of the sisters’ Indian ancestors. Horvath’s Nero is the perfect picture of white, male entitlement; charming, mercurial and donning a bad boy rebel image, Nero is a 21st century snake oil salesman dealing in mainstream pharmaceuticals. He is the embodiment of Western right-wing conservative, corporate misogyny—all wrapped up in a pretty bleach blond, white linen package.

With shouts to the design team—Tony Sciara (set), Tula Tusox (costume) and Maddie Bautista (sound)—for their work in creating this evocative, otherworldly space that reflects both the South Asian culture of the sisters, and an intriguing environment that’s out of time and space.

Sex, death, snakes and the healing power of flowers and family in Red Betty Theatre and the G Girls’ political, theatrical Ganga’s Ganja.

Ganga’s Ganja continues at FFIF at Geary Lane (360 Geary Ave., Toronto) until April 22, every night (except Mondays) at 7:30 pm and Sundays at 2:00 pm, followed by nightly programming at 9:00 pm and 10:30 pm. Get advanced tickets for Ganga’s Ganja online and check out the rest of the FFIF line-up.

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Grit, determination & a love affair with the speed bag in the funny, moving, inspiring Newsgirl

Savoy Howe in Newsgirl—photo by Dahlia Katz

 

Tracey Erin Smith and Soulo Theatre celebrated the 5th anniversary of the Soulo Theatre Festival, opening this year’s fest with an Opening Night Gala presentation of Savoy Howe’s Newsgirl. With direction and dramatury by Soulo Theatre A.D. Smith, Newsgirl ran for one night only at the Toronto Newsgirls Boxing Club in front of an enthusiastic, sold out house—and a standing ovation—last night. The fest continues at Red Sandcastle Theatre tonight and throughout the weekend.

When Savoy Howe moved away from her home in New Brunswick in the late 80s to study theatre in Hamilton and later move to Toronto, she had no way of foreseeing what was in store—and the journey that would bring her the sense of strength, determination and empowerment that she would go on to share with women and trans people.

This is the story of Newsgirl, Howe’s autobiographical solo show that takes her from a tomboy growing up on a Canadian Air Force base, to her coming out, to training as a boxer and later passing on her knowledge as a boxing coach, starting the first women’s and trans-friendly boxing gym in Canada: the Toronto Newsgirls Boxing Club. And, while it was a photo of a woman wearing boxing gloves that inspired Howe to take up the sport, it was a speed bag that made her fall in love with boxing.

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Savoy Howe in Newsgirl—photo by Dahlia Katz

Combining the physicality, strategy and philosophy of boxing with considerable stand-up and storytelling chops, Howe is an engaging, energetic and endearing performer. With Howe primarily telling her story from inside the boxing ring, the show is dynamically staged, moving her around the gym as she highlights discovery and work on the heavy bag and speed bag; and her rookie first entry into the ring is hilarious!

Newsgirls is a story of struggle, grit and a ‘don’t give up’ attitude that takes some rough, and sometimes violent, turns. Perseverance, a big heart and a curious, open mind—not to mention a hard-working, helping hand way of looking at life—make the wins and losses equal in value. Always learning, never backing down from a challenge, and enduring the deep-seated sexism and male aggression of this world, Howe is an inspiration. Newsgirl is a classic underdog makes good story. And it definitely packs a punch.

Grit, determination and a love affair with the speed bag in the funny, moving, inspiring Newsgirl.

Check out this great interview in VICE Sports with Savoy Howe on how she got into boxing, opened Newsgirls, and how she and the gym are empowering women and trans people. You can also follow the Toronto Newsgirls Boxing Club on Facebook.

Howe is in the process of launching a crowdfunding campaign to keep the gym alive and serving the community; stay tuned for details on how you can help.

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Soulo Theatre A.D. Tracey Erin Smith in the ring at Toronto Newsgirls Boxing Club—photo by Dahlia Katz

Newsgirl was a one-night only performance, but no worries—there are lots more life-changing, life-affirming true stories to come tonight and this weekend at the fest, which includes solo shows and panel discussions. The Soulo Theatre Festival continues at Red Sandcastle Theatre till May 28; check out the full schedule and purchase advance tickets and get your festival pass.

Department of corrections: The original post for the show mentioned that Howe studied theatre in Toronto; it was actually Hamilton. The error has been corrected.

Rich tapestry of image, sound & dance tells a powerful story without words in remarkable Century Song

Neema Bickersteth in Century Song—photos by John Lauener

 

Nightwood Theatre partners with Volcano, Richard Jordan Productions UK and Moveable Beast Collective to present Century Song, opening last night in the Guloien Theatre at Crow’s Theatre’s home at Streetcar Crowsnest.

Created by soprano/performer Neema Bickersteth, choreographer Kate Alton and director Ross Manson, the multimedia, multidisciplinary Century Song tells the stories of women throughout the past hundred years, incorporating the music of composers Sergei Rachmaninoff, Olivier Messiaen, John Cage, Georges Aperghis and Toronto’s Reza Jacobs; and including accompaniment by Gregory Oh (piano) and Ben Grossman (percussion, computer). The show also includes stunning projected images—black and white, and colour portraits, visual art pieces, and evocative landscapes, cityscapes and environments—projection design by Torge Møller and Momme Hinrichs from Germany’s fettFilm; and featuring the works of numerous photographers and artists.

This is a show unlike any I’ve ever seen—and I’ve seen a lot of theatre—so how can I describe to you this beautifully moving, powerful and innovative piece of storytelling that is really best experienced on an emotional and visceral level, as opposed to a cerebral level (though it does leave you with plenty to think about).

Opening in 1915 with Rachmaninoff’s Vocalise, we see a woman corseted and engaged in repetitive action, evoking housework and an agricultural setting. Moving into the 1920s/1930s, she is now clad in a sleek golden gown, placed in a magical forest—the setting, sound and imagery changing as time shifts into the 1930s and 1940s, with increasingly intense and horrific renderings of social and economic upheaval, and the devastation of war.

Century_Song_7With projections covering both the back wall and floor, the zooming in on images provides the illusion of movement. This technical aspect takes on a playful effect as we journey from the 1950s through 1978, where we see multiple Bickersteths as a variety of characters in various living room settings. And it’s particularly cool when she returns to the stage, joining her projected, life-size selves.

The landscape gets intense again, as we’re whisked up a skyscraper and onto the roof where we see a vast, endless cityscape before us. It’s dark and stormy. Now dressed in a business skirt suit, she is caught up in a frenzy of chaos and speed—overwhelmed by the pace and bleakness of it all.

Century_Song_6Returning to a quiet moment, Bickersteth closes with Vocalise for Neema by Reza Jacobs, a piece commissioned specifically for Century Song; with a haunting, yet soothing, lullaby quality that shifts into bluesy and playful tones, it promises to bring some to tears as we return to the safe confines of the theatre space in the present time.

Bickersteth is a wonder up there, bringing a powerhouse performance that combines operatic vocals and dance. Taut and precise, flexible and present, her work is masterfully fluid and evocative as she travels through time and space—presenting the lives of these women, with all their joys, fears, challenges, successes and expectations as they play out their roles.

With shouts to the design team: Camilla Koo (set), Rebecca Picherack (lighting) and Charlotte Dean (costumes).

A rich tapestry of image, sound and dance tells a powerful story without words in remarkable Century Song.

Century Song continues at Streetcar Crowsnest until April 29; advance tickets available online. Get out to see it—this is theatre like you’ve never seen.

Department of Corrections: The original post contained a typo in director Ross Manson’s surname; that has since been corrected.

SummerWorks: A young woman’s journey through confusing, crazy times toward empowerment & love in The Emancipation of Ms. Lovely

TheEmancipationofMs.Lovely-400x580“Today my heart broke,” said the seed, “it itched and ached, I was smashed to pieces.”
“Ahh,” said the burning sun, “you were growing, to blossom you have to break.” – Ngozi Paul

With today’s hand-held devices, and instant news and social media access, bad news travels even faster than before. The nature of the injustices we see – particularly those against marginalized and racialized people, and especially women and children – coupled with the sheer amount of information bombarding us every day, can be overwhelming and exhausting as we try to absorb and make sense of it all. All while we go about our own daily lives in search of growth, healing – and love.

It is this world that the heroine of The Emancipation of Ms. Lovely must navigate as she becomes herself and reaches out into the world for love. Written and performed by Ngozi Paul, directed by d’bi.young anitafrika, choreographed by Roger C. Jeffrey – and featuring music, performed on stage, by musicians/composers Waleed Abdulhamid and DJ L’Oqenz AKA Non – the play is an exciting offering of SummerWorks’ 2015 theatre series, running at the Factory Theatre Studio.

Lovely’s story is told through a series of a present day scenes of a sexual encounter and flashbacks to her youth. Growing up with her mother and grandmother, Lovely danced and sang to Jem and the Holograms, aspired to the strength of TV’s Wonder Woman, and adored Paula Abdul. Then came an interest in boys, and with it the pressure to “be cool,” and to behave and dress for them – something that Lovely struggles with, being the energetic girl that she is, and one who wears her heart on her sleeve. Then, the discovery of sex and intimate relationships – easily hurt with her heart out there like that – and the detachment of casual hook-ups and infidelity. Constantly getting the message – from family, friends, boyfriends and media – that her body and sexuality don’t belong to her, she loses sight of her true self, and judges herself and her body in the reflections of others. Until she has to ask herself: “What are you doing?”

Woven throughout Lovely’s story, in first person voice-over, is the story of Saartjie (Sarah) Baartman, a 19th century black woman who was paraded around Europe as a human zoo attraction, her large buttocks used as a selling point – a “specimen” of an exotic black female, hyper-sexualized and exploited. So much so that after her death, her bones and vagina were on display in France for 200 years. Of Baartman’s story and its inclusion in the play, Paul writes: “On a quest to understand how I learned to love, what I understand about my body, my life, a woman’s life and what a black woman’s life means in the 21st century, I was introduced to reflections of myself in the cellular memory of Sarah Baartman.”

Brilliant performance from Paul – and one that includes movement, dance and physical theatre. Her characterizations are engaging and truthful, with a lovely combination of comedy and poignancy – from her watchful and critical grandmother, who doesn’t want shame brought upon the family; to the contagious energy of their church preacher, who blames Eve for man’s falling out with God; to the men who try to seduce her and those who succeed. And the bright-eyed, open-hearted Lovely – excited about growing up, and full of desire and longing. Longing for more than just good sex, but for love. While Paul’s story includes aspects specific to women of colour, it resonates with all women.

The minimalist set is very effective for this production (something that director young anitafrika pushed for as an alternative to Paul’s vision of a more multimedia, high-tech set-up). The nine identical full-length mirrors that cup the playing area serve to reflect the action of Lovely’s story, allowing for viewing at multiple angles. And the way the mirrors are used throughout shifts from child’s fairytale fantasy props to silent reflections of judgment and negative thoughts about body image.

A young woman’s journey through complex, confusing and crazy times toward ownership of her body and sexuality on the way to finding love in the powerful, high-energy and inspirational The Emancipation of Ms. Lovely.

The Emancipation of Ms. Lovely continues at the Factory Theatre Studio until Aug 16 and includes a talkback after the show – check the show page for exact dates/times.