Love, sacrifice & the heartbeat of time in the delightful, poignant Sisters

Laura Condlln & Nicole Power. Set design by Michelle Tracey. Costume design by Erika Connor. Lighting design by Kimberley Purtell. Photo by Cylla von Tiedemann.

 

Soulpepper opened its striking world premiere of Rosamund Small’s delightful, poignant Sisters—a story of love, family, sacrifices and the march of time—to an enthusiastic full house last night. Inspired by Edith Wharton’s novella Bunner Sisters and directed by Peter Pasyk, Sisters is running in the Michael Young Theatre at the Young Centre.

It’s the turn of the century in New York City, and sisters Ann (Laura Condlln) and Evelina (Nicole Power) live quiet, regular lives, working and living in a small shop, selling notions and jams, and providing sewing services. Both are single at an age that would label them as spinsters; and their small, humdrum workaday lives get a spark of excitement when Ann buys a clock for Evelina’s birthday—and both become enamoured with the quiet, charming clockmaker Ramy (Kevin Bundy). Adding to the fun is their observant friend and neighbour, Mrs. Mellins (Karen Robinson), a widowed dressmaker who lives upstairs.

Torn between her feelings for Ramy and love for her sister, Ann steps aside to make room for a match between Ramy and Evelina—a decision made all the more heart-wrenching when Ramy takes a job in St. Louis, taking his new wife with him and leaving Ann to run the shop alone. Dependant on return customers and referrals from more privileged ladies—like the affable Lady with the Puffy Sleeves (Ellora Patnaik) and the wealthy, entitled Customer (Raquel Duffy)—Ann and Mrs. Mellins are also facing a new wave of industrialization; one in which much of the textile industry will be mechanized, with factories churning out large amounts of pre-made, less expensive off-the-rack goods. Dealing with the separation as best as she can, when Evelina’s letters stop coming and her letters come back return-to-sender, Ann sets on a search for Evelina’s whereabouts; and with the help of Mrs. Mellins, gathers some troubling information about Ramy in the process.

sisters-2
Karen Robinson, Laura Condlln & Nicole Power. Set design by Michelle Tracey. Costume design by Erika Connor. Lighting design by Kimberley Purtell. Photo by Cylla von Tiedemann.

Lovely work from the cast in this tale of everyday heroism and perseverance in the face of longing, heartbreak and loyalty. Condlln is heartbreaking and inspiring as the older sister Ann; practical and better with the accounts than she is with the creative side of the business, Ann puts her own desire for romance aside to make her sister happy. Power (who Kim’s Convenience fans will recognize as Jung’s quirky boss Shannon) is a day-dreamy spitfire as younger sister Evelina; bored and skeptical that things will get better, Evelina is more pessimistic than her sister—but is able to see colours in music and match the perfect accessories to a dress. Robinson (who Schitt’s Creek fans will recognize as Ronnie Lee) is a treat as Mrs. Mellins, performing with gusto and impeccable comic timing; while she has a morbid fascination in the seedier side of the city, Mrs. Mellins’ penny dreadful notions of life outside the shop make way for sage advice and motherly watchfulness over the sisters. And Bundy seduces as the reserved, gallant German clockmaker; shy, sickly and precise, Ramy is a mystery man of changeable temperament—which perhaps makes him all the more attractive.

The perspectival, display case-like set with a raked floor (Michelle Tracey), atmospheric lighting (Kimberly Purtell), stunning period costumes (Erika Connor) and haunting music box music (Richard Feren) make for an aesthetically pleasing, finely honed view of this world.

Sisters reminds us of the precarity of life for working women; reliant on men and those who are better off in general to make something of their lives. And of the saving grace of love, hope, faith and determination—with a little help from family and friends.

Sisters continues at the Young Centre until September 16. Get advance tickets online or call the box office: 416-866-8666 or 1-888-898-1188.

Advertisements

Lost music dreams & turbulent family reunion in Rare Day Projects’ bittersweet, poignant, funny A Very Different Place

Clockwise, from top left: Jeanette Dagger, Rosemary Doyle & Alexzander McLarry. Photo by Deborah Ann Frankel.

 

You can’t go home again, but maybe you can meet where you are. Rare Day Projects presents Carol Libman’s drama about lost dreams and family reunion, A Very Different Place, directed by Robin Haggerty and opening last night at Red Sandcastle Theatre. This world premiere began as a short play in Alumnae Theatre’s New Ideas Festival, later emerging at Big Ideas and Next Stage readings before reaching its current form at Red Sandcastle.

Teri (Rosemary Doyle) left home almost 20 years ago to pursue a career as a jazz singer with a talented man she loved—and that’s not all she left behind. Her mother Marge (Jeanette Dagger) was left to raise her son Mike (Alexzander McLarry). After a chance meeting in a Calgary hospital, where Teri now works as a nurse, Mike hatches a plan for a family reunion between his mother and grandmother at their home in Toronto—a plan that gets fast-tracked when Marge falls and breaks her hip. He needs to get back to work on an oil rig out west in a few days, and Marge—despite protestations to the contrary—needs assistance at home while she recovers and gets physiotherapy. Enter Teri, and the mother/daughter battle begins!

Old wounds, misunderstandings, resentments and suspicions emerge as Teri and Marge struggle through past and current conflicts—and try to make peace for Mike’s sake. Mike finds himself in the middle of the fray, playing peacemaker when all he wanted was to get his family back together. And Teri’s desperately trying to stay sober through the stress of this homecoming; attending AA meetings, where she addresses us as fellow Friends of Bill.

Nicely staged, with a turbulent musical prologue and snippets of classical piano favourites featured throughout (expertly played by Dagger) and a touching mother/daughter duet on “Summertime” (with Doyle shining on the vocals), A Very Different Place is bookended with music and moments of Teri’s AA sharing.

Lovely work from the cast in this touching, often sharply funny, three-hander—featuring some especially moving two-hander scenes between mother and daughter, and mother and son. Dagger’s Marge is a tough but amiable old gal with a decided stubborn, independent streak and an unbreakable determination to do what’s best, even if it costs her. Doyle’s Teri is a troubled adult child struggling to reconcile past and future choices, wobbling on the edge of petulant teen in the face of family conflict. Equally firm in her pursuit of independence—she comes by it honestly—like Marge, who once dreamed of being a concert pianist, Teri feels the sting of lost music career dreams and the necessity of setting herself on a new path in order to survive. McLarry does a great job as the glue trying to hold this family together as Mike navigates his own internal conflicts; like Marge and Teri, his life took an unexpected turn when he was forced to go west to find work. Setting up this family reunion as much for himself as for his grandmother and mother, Mike finds himself playing adult/referee when, deep down, he wants to feel a kid’s experience of love and family.

With shouts to SM/Technical Director Deborah Ann Frankel for juggling multiple tasks in the booth.

A Very Different Place continues at Red Sandcastle until May 13, with evening performances at 8 pm May 8 to 12; and matinees at 2 pm on May 10, 12 and 13. Tickets available at the door, by calling the Box Office at 416-845-9411 or going online.

 

Power, connection & identity in the potent, magical, eye-opening Watah Theatre Double Bill

“A world without fairy tales and myths would be as drab as life without music.”—The Watah Theatre

The Watah Theatre presents a Double Bill of biomythographies, including an excerpt reading of d’bi.young anitafrika’s Once Upon A Black Boy and the world premiere of Najla Nubyanluv’s I Cannot Lose My Mind, running in the Studio at Streetcar Crowsnest.

Once Upon A Black Boy, written and performed by d’bi.young anitafrika, opens with a mother singing to her infant son. Rocking him in her arms as she sings, she tells him he is beautiful and loved, enveloping him with encouragement and protection. When he grows into an energetic, self-involved (what teen is not?) 6’ tall 15-year-old, she must call him out on the condition of his room, slacking off on his chores and changing out of his uniform before he comes home from school. Because, now, she is afraid for him. She is afraid that others won’t see a 15-year-old child, but a scary, big Black man—and she’s terrified that assumptions based on fear, prejudice and racism could get him killed.

D'bi Young-54-flat-2
d’bi.young anitafrika

Told through spoken word, song and a cast of multiple characters, Once Upon A Black Boy is as much about Black motherhood as it is about raising a Black son—and how Black bodies are treated differently in the face of systemic and institutional racism. Joyful and hopeful, then exasperated and deeply concerned, anitafrika’s performance covers the complex array of experience of a Black mother—longing and hoping for the best, but bracing and preparing for the worst. The mother also fears what may happen when she’s not around, from having to be at work and, even more importantly, if she were to get sick. Her sister has just been diagnosed with aggressive breast cancer, which we see played out when the sister visits the doctor to check out a lump and is instructed to keep an eye on it and return in six months.

Moving, insightful and peppered with playful comic moments—and filled with music and sharply-defined characters—anitafrika’s storytelling is both compelling and entertaining. I look forward to seeing where this story goes.

I Cannot Lose My Mind, written and performed by Najla Nubyanluv and directed by d’bi.young anitafrika, chronicles a Black womxn’s* quest to be rid of depression. Discovering an inexplicable mutual connection with a kind and helpful Black female therapist, the womxn finds she must also put up with the therapist’s questionable colleagues: two white male doctors who are happy to push pills onto their patients, including a hilarious list of possible side effects—but, oh, they have additional pills to take care of those too. Experiencing a dreamscape of shared connections with a group of seven women, some of whom were also being treated for depression—and including the therapist and her sweet, elderly receptionist—the womxn finds a bigger world outside her day-to-day life. Trouble is, the doctors have also discovered these mythological connections and want to harness the womxns’ collective power for themselves.

rsz_najla_nubyanluv_in_i_cannot_lose_my_mind_-_photo_by_enas_satir_4_1
Najla Nubyanluv

Telling the story through movement, song and a cast of characters, Nubyanluv weaves personal experience, dreams and mythology, creating a landscape of magical connections with a larger community as the womxn navigates therapy, medication and health care practitioners who don’t have her best interests in mind. Dressed in a goddess-like white gown, Nubyanluv gives a fluid, playful and mesmerizing performance. Connecting with the audience on a personal level as the story unfolds, she draws us into this world. This is what it’s like to experience depression—and struggle to get better and get your life back as you try to make sense of an often senseless world.

Both of these biomythographies demonstrate how anitafrika and Nubyanluv walk the talk of some of the key principles The Watah Theatre teaches its resident artists: Who are you? How are you? And what is your purpose? Theatre-making as self-discovery: the artist coming to the work as a human being, connecting with their lived experience, and then sharing that discovery as they connect with an audience. Making their lives as the make their art.

These stories also highlight the intersections of oppression, particularly the health care system’s failure to treat women of colour with equal respect and diligence. During the talkback that followed the performance, anitafrika also mentioned the importance of recognizing how we all perpetuate stigma ourselves, and to turn our focus away from how we are oppressed in our daily lives to how we propagate oppression. We need to examine power, not just how it’s exerted upon us, but how we exert our own power on others. Are we using our power for support and allyship—or to oppress and demean?

Power, connection and identity in the potent, magical, eye-opening Watah Theatre Double Bill.

The Watah Theatre Double Bill continues in the Streetcar Crowsnest Studio till February 17; advance tickets available online.

*This is The Watah Theatre’s preferred spelling of woman/women.

Tracing identity through the sacrifices & dreams of matriarchal herstory in the moving, delightful, lyrical trace

Jeff Ho; set design by Nina Lee Aquino and Michelle Ramsay; lighting design by Michelle Ramsay—photo by Dahlia Katz

 

Factory Theatre, in association with b current performing arts, presents the world premiere of Jeff Ho’s trace, a multidisciplinary journey of family and identity, directed by Factory Theatre AD Nina Lee Aquino, assisted by Darrel Gamotin, and currently running in the Factory Studio space.

Written, performed and composed by Ho, trace is structured as a Piano Sonata, with Five Movements, plus a Prelude and a Coda. Featuring the three most influential women in his life, the storytelling weaves memories with family mythology and moments, travelling through time and across borders—taking family apart and reuniting them.

Starting in the present day, Jeff’s mother (Ma) Kwan Miu Chi (44 years old) returns home to Hong Kong with her eldest son, looking for a place to stay. She finds drastically different receptions from her grandmother (Jeff’s Great Grandma) Kwan Bo Siu (85 years old), who seems happy to see her, but proceeds to gruffly enlist her aid in ridding the apartment of rats; and mother (Jeff’s Grandma) Kwan Wei Foon (64 years old), who is decidedly chilly and resistant to having two more mouths to feed.

As the story shifts back and forth in time and place, we see the three women at various ages—and the world and circumstances that shaped them and their relationships with their children. As a young, single mother, Great Grandma Kwan Bo Siu fled the WWII Japanese invasion of China with her son to live in Hong Kong, where she faced new struggles to find work and survive. Grandma Kwan Wei Foon was 16 when she met her husband to be, receiving a scornful and cross introduction to his mother (Bo Siu); and subsequently garnering constant disapproval and always having to prove herself, and supporting her mother-in-law in her old age. And Jeff’s Ma Kwan Miu Chi, who left Hong Kong for Toronto in pursuit of a better life for herself and two young sons, was once refused tuition to go to school by her mother (Wei Foon). Finding support and commonality with her grandmother (Bo Siu)—who possessed mad skills and an ability to earn great sums at the mahjong table—she was able to pursue her education and chosen profession. And just as Wei Foon and Miu Chi battled over Mui Chi’s dream of becoming an accountant, the economically cautious, traditionally-minded Miu Chi goes on to butt heads with her youngest son Jeff, who eschews academics for the arts, especially the piano.

Ho, who gave us a lovely Ophelia in Why Not Theatre’s production of Prince Hamlet, does an equally beautiful job with these women, capturing their vulnerability, stubbornness—and ultimately determined strength as they ferociously carry on through tragedy and hard times. Charming, eloquent and a wonder on the keys, Ho shifts seamlessly between characters with precise body language and vocal qualities: the hard-talking, chain smoking mahjong Queen Great Grandma Kwan Bo Siu; the imperious, cold and distant Grandma Kwan Wei Foon; and the strict, practical, sharp negotiator Ma Kwan Miu Chi (who also inherited the maternal mahjong queen gene). Amidst the struggles for survival, family is of the utmost importance to these women. All are striving for a better life for themselves and their children—and keeping the line of caretaker from parent to child and back again intact.

The two pianos on stage play out the exquisitely beautiful, Piano Sonata-inspired framework of this story, composed by Ho—and stand in for the other characters the women encounter along the way. The Fifth Movement, played in the home key, is particularly heart-wrenching. During the talkback that followed the performance (hosted by Miquelon Rodriguez), Ho describes this as the most challenging aspect of performance: making the piano speak as a character so the interaction is as clear as possible.

trace is nicely bookended as we return to the present day. The revelations of family history, sacrifice and secret shame bring a painful sense of redemption and closure to the three generations of women—and the realization of why they are the way they are. For Ho, who combined fact, fiction and conjecture to create the piece, it is the story of the three women who made him who he is.

With shouts to Aquino and Michelle Ramsay for the elegant, multi-level platform set design; the black platforms with red legs evoking beautiful Chinese lacquer furniture.

Tracing identity through the sacrifices and dreams of matriarchal herstory in the moving, delightful, lyrical trace.

trace continues in the Factory Theatre Studio till December 3. Get your advance tickets online, by phone at 416-504-9971 or in-person at 125 Bathurst Street (at Adelaide St. W.).

Family, blood & sins of the father in the compelling, darkly funny Tough Jews

Maaor Ziv, Blue Bigwood-Mallin, Luis Fernandes, Theresa Tova, Anne van Leeuwen, G. Kyle Shields & Stephen Joffe in Tough Jews—photo by John Gundy

Leave the gun. Take the kugel.

Storefront Theatre is back, this time partnering with The Spadina Avenue Gang to mount the world premiere of Michael Ross Albert’s Tough Jews, directed by Storefront founder/co-artistic director Benjamin Blais and running at Kensington Hall in Toronto’s Kensington Market.

Tough Jews was Albert’s graduate project about a family of Toronto Jewish gangsters; and, although it’s set in the late 20s and early 30s, the play speaks to issues of anti-Semitic and anti-immigration/refugee sentiments that are relevant today, especially given the influence of the current administration to the south, and the rise in hate crimes targeting Jews and Muslims on both sides of the border.

Set in the basement speakeasy, downstairs from the family’s shop and home in Kensington Market, Act one opens in 1929 on Yom Kippur, 10 days before the stock market crash. Overseen by the widowed family matriarch Ida (Theresa Tova), brothers Joe (Luis Fernandes) and Ben (Blue Bigwood-Mallin) take care of the family business running booze downstairs, while Teddy (G. Kyle Shields) runs the legit business upstairs. Kid sister Rose (Maaor Ziv) and Ben’s American fiancée Marge (Anne van Leeuwen) watch from the sidelines. Downstairs business with Detroit’s Purple Gang goes south when hothead cousin Ziggie (Stephen Joffe) interrupts negotiations. This prompts Ben to come up with an idea to get Rose’s dope-dealing boyfriend Harry (who we never see), to get in on the action; despite the family’s disapproval of Harry, Ben hopes to placate the Purple Gang with new, hard-to-get product.

Act two jumps ahead four years to 1933, a couple of months after Hitler becomes Chancellor of Germany and shortly after the Christie Pits riot. Joe and Marge have been living in Florida, but his business was hit hard by the Depression, and he’s returned home to Toronto. Ben has also just come home, just released from jail; and Rose has a three-year-old and some serious domestic issues at her house. Teddy has taken over the speakeasy in the interim, but is now using it as a hide-out after his involvement in the Christie Pits riot.

Family secrets emerge throughout; and serious, changing situations prompt some equally drastic decision-making and choices. How far will a marginalized, oppressed and desperate people go in order to survive?

Stellar work from the entire cast in this immersive theatrical experience where the audience has a fly-on-the-wall view of the proceedings. Tova is hard as nails, hilarious and heartbreaking as Ida, who recalls in sharp, painful detail the oppression of her homeland and the hardship of an ocean crossing. The dreams of a better life destroyed by hate and oppression in a new country, Ida takes charge with pragmatism, grit and wry wit; and with a laser focus on turning the family’s fortunes around. Fernandes gives oldest brother Joe a nice balance of calculating professional and protective man of the house. Dog tired and struggling to keep the family business afloat, Joe must also manage the less than friendly relationship between Marge and his family.

Bigwood-Mallin brings a great sense of spark and ambition to Ben; the only one who really wants to be a gangster, Ben is genuinely excited to expand the business, make connections in the U.S. and make more money. Shields does a marvelous job with Teddy’s arc; as the bookish, observant kid brother, Teddy is torn between being a good man and seeing their legitimate family business survive, and the struggle to survive in a harsh, unfair world that leaves his family few options. By Act Two, he’s grown up a lot in those four years; a changed man, he sees what’s going on in Germany—and how prejudice and hate know no boundaries—and it sickens him.

Ziv’s Rose is an irreverent spitfire; an independent-minded and often neglected member of the family, Rose does her best to make a life for herself, but finds new challenges outside the safety of the family nest. Van Leeuwen brings a regal edge to the platinum blond, leggy Marge; a dancer when Joe first met her, she’s now set on becoming a respectable wife and looking forward to enjoying the good things in life. Unable to stomach Joe’s family business, however, she retaliates by putting on airs. Joffe gives Ziggie a menacing, lost boy edge. Taken in by his aunt Ida as a child, Ziggie’s grown up into a dangerous punk with some serious anger and impulse control issues; and his choices make him a liability to the family.

With big shouts to the design team Adam Belanger (set), Melissa Joakim (lighting), Lindsay Dagger Junkin (costumes), Angela McQueen (makeup) and Miquelon Rodriguez (sound) for their work on the evocative, immersive environment; and to fight director Simon Fon, and co-stage managers Justine Cargo and Andrea Miller. Throughout the production, corpses will be played by Kyle Bailey, Daniel Briere, Gabriel Hamilton and David Lapsley. The bartender makes a mean Manhattan, with the good Jack Daniels.

Family, blood and sins of the father in the compelling, darkly funny Tough Jews.

Tough Jews continues at Kensington Hall till April 16 (enter through the back alley—follow the sandwich board sign); full schedule and advance tix available online]. Book in advance for this one, folks; it’s a popular company and there’s a lot of well-deserved buzz about this show—not to mention the intimate venue. Warning: Show contains gun shots and smoking (herbal cigarettes).

In the meantime, check out Brittany Kay’s In the Greenroom blog interview with playwright Michael Ross Albert and actor G. Kyle Shields, with director Benjamin Blais dropping by.

Desperate desires, power struggles & parental POV in the compelling, sharply funny Trigonometry

Rose Napoli & Alison Dean in Trigonometry—photo by Greg Wong

 

Gabriella wants action. Jackson wants a scholarship. Susan wants a family.

timeshare opened the third and final installment of Rob Kempson’s The Graduation Plays trilogy with the world premiere of Trigonometry this past week, directed by Kempson and running in the Factory Theatre Studio. I caught Trigonometry yesterday afternoon.

Math teacher Gabriella (Rose Napoli), substitute teacher/guidance counsellor Susan (Alison Dean) and student Jackson (Daniel Ellis) find their lives intertwined as their desires collide in a high-stakes, power struggle dynamic. Scandalous photos, sports team hazing allegations and personal revelations come into play in a series of intense, at times hilarious, two-hander moments—culminating in a gripping final scene when the three stories triangulate.

Outstanding work from the cast on this trio of disparate characters locked in a battle of wills. Great chemistry between Napoli and Dean in a diametrically opposed, sharply funny dynamic of opposites. Napoli’s Gabriella is sassy, ballsy and a passionate teacher; a divorced single mom with conservative, black and white views of the world, particularly the new sex ed curriculum. Direct and possessing a sardonic sense of humour, Rose is recently single and ready to mingle—and active on Tinder. Dean brings a sweet, kind quality to the progressive Susan; no doormat, Susan is open to hearing all sides of an argument and willing to navigate the grey areas—in many ways, the perfect guidance counsellor. Tasked with investigating persons of interest around a volleyball team hazing, Susan is a reluctant investigator, but willing to do her duty; she’s also chosen to start her own family, on her own with a sperm donor pregnancy. Ellis’s Jackson is a likeable kid with just the right amount of smart-ass; a gifted athlete struggling with math and driven to make his parents proud, Jackson has considerable strategizing skills—and perhaps too wily for his own good. Was he involved in that hazing?

2. Rose Napoli and Daniel Ellis. Trigonometry. Photo by Greg Wong.
Rose Napoli & Daniel Ellis in Trigonometry—photo by Greg Wong

Parental point of view plays prominently in each story, driving decisions and opinions. All three characters are basically good people—and the situations in which they find themselves test how far they’re willing to go to get what they want. In the end, much is left up to us to sort out.

With shouts to set/costume designer Anna Treusch and scenic painter Simge Suzer for the trippy math class chalkboard set.

Desperate desires, power struggles and parental POV in the compelling, sharply funny Trigonometry.

Trigonometry continues in the Factory Theatre Studio until Mar 25. You can find the full schedule and ticket info here; advance tix available online or by calling 416-504-9971.

In the meantime, check out playwright Rob Kempson’s interview with host Phil Rickaby on Stageworthy Podcast.

 

Trippy, quirky, thought-provoking mind-f*ck of a good time in The Summoned

The Summoned, Tarragon Theatre
Fabrizio Filippo in The Summoned – photos by Cylla von Tiedemann

If it can be done it will be done.

Static for a time, then appearing as if being typed by an unseen hand, there is a quasi-religious elegance to these words. God meets science.

This is how the stage is set for Tarragon Theatre’s world premiere of Fabrizio Filippo’s The Summoned, directed by Richard Rose, assisted by Joel Bernbaum – currently running in the Mainspace.

Tech giant Khan (one name, like Cher, chosen himself) is dead and his executor has called an assembly of the important figures in his life for the reading of his will at a shitty airport hotel in Toronto, run by his former partner/ex Annie (Maggie Huculak) and her son Aldous (Fabrizio Filippo). The hotel was set up as a safe house for the world’s intellectual elite, and the guests are transported to the location with impressive precision and secrecy by Khan’s security chief Quentin (Tony Nappo). Company president Gary (John Bourgeois) and lawyer Laura (Kelli Fox), and flight attendant and Aldous’s sort of girlfriend Isla (Rachel Cairns) round out the guest list. Instructions are relayed to Quentin via Walkie Talkie (Alon Nashman).

Aldous also serves as our narrator, setting the scenes and introducing the players, and we learn about Khan via flashback scenes, where we see how a young Khan (Filippo) meets a young Annie (Cairns), and get glimpses into their work together and the genesis of his empire. It appears obvious to everyone except Aldous that Khan is his father. And, of course, the reading of the will is largely Khan’s way of messing with his dearly beloved from beyond the grave. And it all gets emotional and weird. Really weird.

The Summoned, Tarragon Theatre
Kelli Fox, Rachel Carins, John Bourgeois, Maggie Huculak, Tony Napppo & Fabrizio Filippo in The Summoned

I effing love this cast. This is a wild, entertaining, high-energy ride – and this ensemble isn’t afraid to give ‘er. Playwright Filippo is a multitasking machine onstage, playing two very different characters. As Aldous, he brings an unflappable, almost eerie, sense of detachment and calm; minimally communicative and eschewing physical contact, there’s an Asperger’s quality to his relationship with the world. As Khan, he’s an impish, big personality; a mercurial and diabolically brilliant tech maestro with a lascivious appetite and flexible morals, he takes and uses what he wants, when and how he wants.

Huculak brings a lovely, layered sense of desperation and control to Annie; a brilliant, groundbreaking tech mind in her own right, her life forever changed by motherhood. Long estranged from Khan, she got the kid and he got the company, and she’s kept one foot in their once shared world by running the hotel safe house, perpetually longing for a connection with her son. Cairns is a kooky delight as Isla, the flight attendant who lives a seemingly charmed life; always living in the present, she is super spontaneous, hilariously irreverent and refreshingly honest. Nappo is a loveable combination of efficiency and wackiness as the cellphone snapping, air freshener spraying security guy Quentin; a schlub in a uniform, he also appears to be a narcoleptic, but this doesn’t stop him from executing his duties with tight-lipped, covert expertise. Bourgeois’ Gary is a great combo of funny and intimidating; an imposing corporate badass, Gary is entitled and cynical, and we see his soft underbelly emerge during the reading of the will. And Fox’s Laura is a gorgeous, ballsy 21st century Rosemary Clooney; pragmatic, but warm, she’s a sharp no-nonsense professional – and a woman with a confession to make.

The Summoned, Tarragon Theatre
Seated: John Bourgeois, Fabrizio Filippo & Maggie Huculak, with Kelli Fox on the floor

On the serious side, The Summoned is an exploration of the history and evolution of tech, and its applications and implications for our lives. If it can be done it will be done. Forever and ever, Amen.

With shouts to the design team, especially Jason Hand (lighting and set) and Kurt Firla (video) for the minimalist, multimedia environment; the playing space has a crisp, sleek quality to it – making you expect to see Steve Jobs walk out to launch a new iPhone. (Yes, I know, he’s dead.)

A trippy, quirky, thought-provoking mind-f*ck of a good time in The Summoned.

The Summoned continues in the Tarragon Mainspace until May 29; get your tix in advance, kids – this show is packing the house.

In the meantime, check out this Theatromania interview with playwright/actor Filippo.