Hope everyone’s been enjoying the holiday season. As we say goodbye to 2016 (for better or worse), it’s time for the annual top 10 theatre list. As usual, this is always a challenging endeavour, so I’ve added a few honourable mentions (in alphabetical order):
Moses Znaimer and Kat Sandler have teamed up for Zoomer LIVE Theatre’s inaugural production, the debut of Sandler’s Late Night(winner of Toronto Fringe 24-hour playwriting contest), currently running in ZoomerHall – a new space that will serve as a launch pad for intimate, multi-media indie productions. Located in a Liberty Village complex that’s also home to ZoomerMedia, ZoomerHall is part of ZoomerPlex (70 Jefferson Ave., Toronto), a multi-media production and event space.
Directed by Sandler, and produced in partnership with Theatre Brouhaha, Late Night opened on Thanksgiving weekend; I caught the show last night. As we enter the space, we’re greeted by the painfully shy intern Davey (Michael Misu), and a couple of audience members are invited to ask Marty some pre-programmed questions.
After 22 years hosting The Early Late Show, Marty O’Malley (Alon Nashman) is leaving the chair to young, fresh comic talent Sarah Goldberg (Kat Letwin), with a surprise reveal planned in his final show, broadcast live for the first time in the show’s history.
When the running order of the guests has to be changed, the reveal comes early. And when Sarah makes a joke about her and Marty, all hell breaks loose, exploding on social media and forcing longstanding exec producer Alanna (Maria Vacratsis) into emergency measures to appease a titillated and scandalized audience, and a confused bunch of network execs, pushing Sarah into a co-host position for the remainder of the show.
And when Sarah and Marty crack open Marty’s retirement present and begin chatting with guest Kevin Lee Hicks (Nigel Downer), things get really crazy – and the crazy gets turned up to 11 when Marty’s actress wife Vivienne Lawrence (Rachel Jones) shows up.
Sandler’s script goes for the jugular, hitting all the nasty facets of show business: ageism, sexism, racism, sizeism, homophobia and the myth of heteronormative, traditional relationships; not to mention sex scandals and the exploitation of disease-battling kids turned celebrities. The main event here is Boomer versus Millennial, and she’s got an outstanding, kick-ass ensemble for this wild and wacky ride – all nicely balancing the funny with the real.
Nashman hits all the notes as Marty; classic inappropriate Boomer white guy, in the tradition of Letterman, O’Malley is magnanimous an even a bit verklempt on camera as he bids farewell to a job he loves. Nashman provides some nice layers of hurt and bitter, as O’Malley’s external calm collapses into rage. As Millennial comic Sarah, Letwin is a natural-born smart-ass; she does a really nice job mining the conflicting emotions of this moment for Sarah, who’s thrilled to be taking over the show and scared to death at the same time. She’s made a name for herself as an unashamed and out there comedienne, and masks her discomfort with an irreverent bravado. Vacratsis is a scary delight as Alanna; a hilarious combination of cheerleader and dragon lady, she’s been with the show for years and will do whatever it takes to keep it alive. Musi is adorkably funny as the socially awkward intern Davey; forced out of his comfort zone on a number of occasions, his reward is the care and feeding of Vivienne, who he goes fan boy gaga over.
Downer is entertaining and compelling as actor Kevin Lee Hicks; a gay black man who’s come to fame by playing cool grandma Mama Jones (who we also get to meet) on the big screen, Hicks is unapologetic, sharp-witted, resourceful and opportunistic. Jones is both a laugh riot and deeply poignant as Vivienne Lawrence; an actress in her mid-forties now relegated to mom roles, she’s struggling with her career and her marriage, and gutted that her kids get drawn into the gossip about her and Marty.
ZoomerHall is the perfect venue for this production. The studio audience sound stage set takes Late Night beyond site-specific and into immersive theatre, complete with cameras and live video monitors.
Funny as hell and shit gets real in the socially sharp, outrageously funny Late Night. My ass was laughed off. Get yourself on over to ZoomerHall to see this