A powerful all-female cast and artful use of the Odyssey Studio make for a great interpretation of the Brothers Karamazov

My mom and I went to see the all-female cast of Brothers Karamazov Saturday evening at the Odyssey Studio at 636 Pape Avenue. Once we located the venue and settled into our seats we realized that we had no idea of what was to come. (I have zero background in the works of Mr. Dostoevski, save that I’ve heard he’s kind of a big deal – don’t shoot me! Ask anyone else associated with theatre or literature and they will provide a deeper understanding than my meagre Wikipedia browsing here.) This excellent production of Brothers Karamazov thoroughly impressed us both and we would recommend it without hesitation to anyone – classical theatre aficionado or not.

Odyssey Studio is a tiny venue with double as much stage as audience area. There couldn’t have been more than 20 folding chairs to sit on while the rest of the room stretched lengthwise in front of us without wings or curtain and a single exit door in the back corner.

Set designer Andrea Mittler artfully took full advantage of the space, lining the walls with distressed barnboard and creating a beautiful surrealist staircase upstage centre which functioned as a pedestal and dressing curtain for the actors. The characterizations of the different personalities were cleverly differentiated both by the stellar performances and by Ming Wong’s simple yet wholly believable costumes.

Transported into the late 19th century world of Russian society, Brothers Karamazov uses song, prose and fine acting to weave an elegant tale which wrestles with many existential unknowns. Working with the highly successful 1981 Richard Crane adaptation, Wordsmyth Theatre director David Matheson took the complicated work one step further and cast four women in roles typically played by men. Having not seen any other versions, I can only say that casting women as brothers further emphasized the universality of familial dysfunction no matter our gender or point in time. The blocking was clear and intentional, and made excellent use of what might otherwise be an awkward space.

The actors were powerhouses, literally shape-shifting before our eyes. Being as close as we were to the performers, there was no margin for error. The cast sparkled as an ensemble, balancing each other perfectly. Melee Hutton blew us away with her portrayal of Dmitri as she waffled between aggressive defiance and fragility next to Anita La Selva’s Ivan as a quiet but rumbling geyser of pent-up emotion. Ashley Bryant’s Alyosha was still and pure in her naive religious burden while Nicole St. Martin chilled us in her portrayal of the conniving servant Smerdyakov.

Big box talent and professionalism in a tiny box of a venue, Brothers Karamazov closes this weekend. Do your best to see this incredible homage to Classical Theatre and to theatre in general.

Details

- Brothers Karamazov is playing at Odyssey Theatre 636 Pape Avenue (entrance off of Cavell Avenue) until May 20, 2012

- Shows run Thursday to Saturday at 8pm. There is a matinee at 2pm on May 20.

- Tickets are available online

- Ticket prices are $29

This week’s cheap theatre post is all about the kids. The weather is getting warmer, school’s almost out and it’s time for the kids to have some fun. This week a combination of kids shows and a free circus festival make up our cheap theatre post. Get out there and watch something with your favourite youth. 

BAOBAB by Hélène Ducharme (Théâtre Motus/SÔ Company). An ancient tree gives birth to a boy who is destined to save a village from drought in this story inspired by West African legends. Opens May 7 and runs to May 17. $15-$20. Young People’s Theatre, Studio, 165 Front E. 416-862-2222, youngpeoplestheatre.ca.

BEYOND THE CUCKOO’S NEST by Edward Roy (Young People’s Theatre). This drama for ages 13-18 follows three youths who meet at a drop-in group for teens with mental health issues. Previews May 7-8. Opens May 9 and runs to May 17. $15-$20. 165 Front E. 416-862-2222, youngpeoplestheatre.ca.

PINOCCHIO DANS MA VALISE by Cie Vox Théâtre (Theatre Direct). The classic tale of fantasy and friendship is told through puppetry and live music. May 19-20 at 11 am & 2 pm (Sat in English, Sun in French). $10-$15. 76 Wychwood. 416-537-4191, theatredirect.ca.

THE ADVENTURES OF PINOCCHIO (Cow Over Moon Children’s Theatre). The classic story of the wooden boy that comes to life is brought to the stage. Opens May 14 and runs to May 21. $15, child $10. Unit 102 Theatre, 376 Dufferin. 905-510-8210, cowovermoon.ca.

TORONTO INTERNATIONAL CIRCUS FESTIVAL (Zero Gravity Circus/HarbourKIDS). This all-ages weekend features aerial acrobatics, stunts, cabaret acts, comedy, music and clowns, plus workshops and interactive kids’ programs. May 19-21. Free. Harbourfront Centre, 235 Queens Quay W. 416-973-4000, tocircusfestival.com.

Already covered by MoT

A FLORENTINE TRAGEDY/GIANNI SCHICCHI by Alexander Zemlinsky/Giacomo Puccini (Canadian Opera Company). Zemlinsky’s satire based on an unfinished Oscar Wilde play is presented with Puccini’s comedy about a greedy family members scheming over a will. Opens Apr 26 and runs to May 25. $12-$318. Four Seasons Centre for the Performing Arts, 145 Queen W. 416-363-8231, coc.ca.

BAOBAB by Hélène Ducharme (Théâtre Motus/SÔ Company). An ancient tree gives birth to a boy who is destined to save a village from drought in this story inspired by West African legends. Opens May 7 and runs to May 17. $15-$20. Young People’s Theatre, Studio, 165 Front E. 416-862-2222, youngpeoplestheatre.ca.

BEYOND THE CUCKOO’S NEST by Edward Roy (Young People’s Theatre). This drama for ages 13-18 follows three youths who meet at a drop-in group for teens with mental health issues. Previews May 7-8. Opens May 9 and runs to May 17. $15-$20. 165 Front E. 416-862-2222, youngpeoplestheatre.ca.

BRING IT ON: THE MUSICAL by Jeff Whitty, Lin-Manuel Miranda, Tom Kitt and Amanda Green (Mirvish). This musical comedy looks at high school rivalries and friendship in the world of competitive cheerleading. Opens May 2 and runs to Jun 3. $35-$130, rush $25. Ed Mirvish Theatre, 244 Victoria. mirvish.com.

BROTHERS KARAMAZOV by Fyodor Dostoevsky (Wordsmyth Theatre). Four women play the roles of the brothers in this adaptation of the Russian novel. Previews Apr 26. Opens Apr 27 and runs to May 20. $29, preview $20. Odyssey Studio, 636 Pape. wordsmyth.ca.

**KIM’S CONVENIENCE by Ins Choi (Soulpepper). A Korean family in Toronto struggles with a bitter past and reconciliation. Opens May 17 and runs to Jun 9. $22-$68. Young Centre for the Performing Arts, 55 Mill. 416-866-8666, soulpepper.ca.

LIVE WRONG AND PROSPER Second City presents its latest revue of sketches, songs and improvisations. Wed-Sat 8 pm, plus Fri & Sat 10:30 pm, Sun 7 pm. $24-$29, stu $15. 51 Mercer. 416-343-0011, secondcity.com.

LOVE NOTWITHSTANDING by Grant Tilly (A Vancouver Apt. Co-op). Two young artists agree to a time-limited relationship, but find their modern ideas at odds with their emotions. Previews May 9. Opens May 10 and runs to May 20. $20, stu/srs $15. Red Sandcastle Theatre, 922 Queen E. 416-845-9411, redsandcastletheatre.com.

LUBA, SIMPLY LUBA by Diane Flacks, Luba Goy and Andrey Tarasiuk (Pleiades Theatre/Red Boots Canada). Actor/comic Goy shares her own story of growing up in a Ukrainian immigrant family and finding radio and TV success. Previews May 7-8. Opens May 9 and runs to May 26. $33. Berkeley Street Theatre, 26 Berkeley. 416-368-3110, canadianstage.com.

SEMELE by GF Handel (Canadian Opera Company). Handel’s opera based on the Greek myth about an ill-fated love affair is fused with ancient Chinese myths and legends in this adaptation. Opens May 9 and runs to May 26. $12-$318. Four Seasons Centre for the Performing Arts, 145 Queen W. 416-363-8231, coc.ca.

THE REAL WORLD? by Michel Tremblay (Tarragon Theatre). A playwright draws on his family as the raw material for his first work. Previews Apr 24-May 1. Opens May 2 and runs to Jun 3. $21-$51. 30 Bridgman. 416-531-1827, tarragontheatre.com.

**THE TALES OF HOFFMANN by Jacques Offenbach (Canadian Opera Company). The dark reminiscences of a drunken poet come to life as he recalls his lost loves. Opens Apr 10 and runs to May 14. $12-$318. Four Seasons Centre for the Performing Arts, 145 Queen W. 416-363-8231, coc.ca.

**WAR HORSE based on a novel by Michael Morpurgo, adapted by Nick Stafford (National Theatre of Great Britain/Mirvish). An English boy sets out to find his horse after it’s sold to the cavalry and shipped off to France during WWI. Previews Feb 10-27. Opens Feb 28 and runs to Sep 30. $35-$130, rush $29. Princess of Wales Theatre, 300 King W. 416-872-1212,mirvish.com.

WEST SIDE STORY by Arthur Laurents, Leonard Bernstein and Stephen Sondheim (Dancap Productions). A young man falls in love with a rival gang member’s sister in this musical. Opens May 8 and runs to Jun 3. $51-$180. Toronto Centre for the Arts, 5040 Yonge. 416-644-3665, dancaptickets.com.

YOU CAN’T TAKE IT WITH YOU by George S Kaufman and Moss Hart (Soulpepper). An eccentric clan experiences unusual order when their daughter finds a fiancé from a conservative family. Previews Apr 19-25. Opens Apr 26 and runs to Jun 21. $51-$68, stu $32; rush $22/stu $5. Young Centre for the Performing Arts, 55 Mill. 416-866-8666, soulpepper.ca.

And the rest…

ANTIBIOTIC DeviationDance presents a work inspired by children who participated in a ‘Healing Through Dance’ program in Colombia. Opens May 16 and runs to May 18. $20, stu/srs $15.Winchester Street Theatre, 80 Winchester. wix.com/deviationdance/home.

AUTOGEDDON by Heathcote Williams (Pandemic Theatre/Happy Trails Productions). An alien visitor observes the behaviour of humans and their cars. Opens May 17 and runs to May 27. $15-$25, May 20 pwyc. Dancemakers Centre for Creation, 55 Mill, bldg 58, studio 313. pandemictheatre.eventbrite.ca.

CHAPPIE JOHNSON AND HIS (ALMOST) ALL COLORED ALL STARS by Joe Sealy and Robin Breon (J Sealy/R Breon). Workshop reading/singing of a new work-in-progress musical about baseball in 1939. May 14 at 8 pm. Free. Hart House Theatre, 7 Hart House Circle. rhbreon3@hotmail.com.

COEXISDANCE SERIES #45 presents dance improvisers performing with AIM Toronto musicians. May 19 at 8 pm. $10. Arraymusic Studio, 60 Atlantic. coexisdance.wordpress.com.

DANCE MARATHON Harbourfront World Stage and bluemouth inc present an interactive, duration-based performance event inspired by Depression-era dance contests, today’s reality TV and the cult of celebrity. May 18-19 at 7 pm. $15-$35. Enwave Theatre, 231 Queens Quay W. 416-973-4000, harbourfrontcentre.com.

**DIRT (Soulpepper). In this collective creation, the Academy uses urban stories, movement and multimedia to explores dirt in literal and figurative terms. Previews May 18-22. Opens May 23 and runs to May 26. $20. Young Centre for the Performing Arts, 55 Mill. 416-866-8666, soulpepper.ca.

DIVE by Nik Beeson and Richard Sanger (Mermaid Collective/Festival of Ideas and Creation). A mermaid takes the audience deep into her world in this voice salon and sound installation. Opens May 12 and runs to May 20. $20-$40. 321 Sackville. 416-927-1534, dive.mermaidproject@gmail.com.

HOME by David Storey (Soulpepper). The social interaction between five characters reveals their desire to belong and maintain human contact. Previews May 8-16. Opens May 17 and runs to Jun 20. $51-$68, stu $32; rush $22/stu $5. Young Centre for the Performing Arts, 55 Mill. 416-866-8666, soulpepper.ca.

ISLANDS by Graham Porter (draft89 theatre collective). In 2512, the survivors of a nuclear cataclysm try to keep civilization going in this play about the clash between utopia and human nature. Previews May 16. Opens May 17 and runs to Jun 2. $30. Theatre Centre, 1087 Queen W. 416-538-0988, draft89.com.

LA VOIX HUMAINE/BLUEBEARD’S CASTLE (Opera Five). Opera is combined with dance, visual art, performance art and more in this double bill. Opens May 15 and runs to May 18. $20. Arts & Letters Club, 14 Elm. operafive.com.

LES ADIEUX III (Free Concert Series in the Richard Bradshaw Amphitheatre). Adrian Kramer, a graduating artist of the COC Ensemble Studio, sings from Schubert’s song cycle Die Schöne Müllerin. Opens May 17 at noon. Free. Four Seasons Centre for the Performing Arts, 145 Queen W. coc.ca.

LOST IN YONKERS by Neil Simon (Harold Green Jewish Theatre). Marion Ross stars in Simon’s play about two boys who must live with their harsh grandmother. Previews May 12-16. Opens May 17 and runs to Jun 10. $42.50-$79.50. Jane Mallett Theatre, 27 Front E. 416-366-7723, hgjewishtheatre.com.

OLD & YOUNG AND RECKLESS TOGETHER MOonhORsE Dance Theatre presents a tribute to Canadian choreographers Peggy Baker, Anna Blewchamp and Danny Grossman. May 18-19. $22, stu/srs $18. The Citadel, 304 Parliament. eventbrite.com/event/3079443699/eorg.

PANAMERICAN ROUTES/RUTAS PANAMERICANAS (Aluna Theatre). This festival of theatre for human rights features multidisciplinary works by Canadian and Latin American artists, including dance-theatre piece Urban Odyssey by Loco 7, Parting Memories by Violeta Luna, Carmen Aguirre’s Blue Box and more. Opens May 15 and runs to May 27. $15-$30, festival pass $100. Theatre Passe Muraille, 16 Ryerson. 416-504-7529, alunatheatre.ca.

PINOCCHIO DANS MA VALISE by Cie Vox Théâtre (Theatre Direct). The classic tale of fantasy and friendship is told through puppetry and live music. May 19-20 at 11 am & 2 pm (Sat in English, Sun in French). $10-$15. 76 Wychwood. 416-537-4191, theatredirect.ca.

**RENT by Johnathan Larson (Theatre Sheridan). New York artists struggle to make ends meet in the shadow of the AIDS epidemic in this musical. Previews May 15. Opens May 16 and runs to Jun 3. $40-$60, stu rush $25. Panasonic Theatre, 651 Yonge. 416-872-1212, mirvish.com.

RHINO RAMA! A PARKDALIAN VARIETY SHOW (Sion Irwin-Childs). An interactive evening of fun, competition and performance. May 17 at 8 pm. $7. Rhino, 1249 Queen W. DanceTODanseFestival@hotmail.com.

**STOCKHOLM by Bryony Lavery (Seventh Stage Theatre Productions/Nightwood Theatre). Problems arise in a couple’s rosy relationship in this play about the lines between love and lust, aggressor and victim. Previews May 11-13. Opens May 15 and runs to Jun 3. $15-$30.Tarragon Theatre, Extra Space, 30 Bridgman. 416-531-1827, seventhstageproductions.com/theatre.

SWAN LAKE Bolshoi Ballet presents the original revival choreography by Marius Petipa as composed by Pyotr Ilyich Tchaikovsky. Opens May 15 and runs to May 19. $71-$255. Sony Centre for the Performing Arts, 1 Front E. 1-855-872-7669, sonycentre.ca.

THE ADVENTURES OF PINOCCHIO (Cow Over Moon Children’s Theatre). The classic story of the wooden boy that comes to life is brought to the stage. Opens May 14 and runs to May 21. $15, child $10. Unit 102 Theatre, 376 Dufferin. 905-510-8210, cowovermoon.ca.

THE EMERGENCY MONOLOGUES by Morgan Jones Phillips (Drinking Well). Phillips performs his solo play about the life of an urban paramedic. Feb 24 at 8 pm. Mar 24 at 8 pm. May 18 at 8 pm. $15. Cameron House, 408 Queen W. emergencymonologues.com.

THE GREEN DOOR CABARET SERIES (Lower Ossington Theatre). This series features cabaret performances by various artists. Opens May 11 and runs to Jun 9. $20-$30. 100A Ossington. lowerossingtontheatre.com/cabaret.

THE LORD OF DEATH Wu Ming Dance Project presents a multimedia solo dance performance inspired by The Tibetan Book Of The Dead. May 18 at 8 pm. $20, stu/srs $16. George Ignatieff Theatre, 15 Devonshire. 416-978-8849, uofttix.ca.

THE MEDIEVAL MASQUERADE (Salon Noir). This variety show feature’s Jarboe and includes music, magic, readings and more. May 20 at 8:30 pm. $30-$35. Lula Lounge, 1585 Dundas W. morbidoutlook.com/salonnoir.

TORONTO INTERNATIONAL CIRCUS FESTIVAL (Zero Gravity Circus/HarbourKIDS). This all-ages weekend features aerial acrobatics, stunts, cabaret acts, comedy, music and clowns, plus workshops and interactive kids’ programs. May 19-21. Free. Harbourfront Centre, 235 Queens Quay W. 416-973-4000, tocircusfestival.com.

TRUE STORIES, MADE UP PLAYS (Sage Tyrtle). Improv troupes act out plays based on true stories. Mar 31 at 10 pm. Apr 28 at 10 pm. May 19 at 10 pm. Free. Black Swan, 154 Danforth. tyrtle.com.

*Listings based on NOW stage listings*

Set in the intimate venue of Red Sandcastle Theatre and written and acted by accomplished performer Grant Tilly, Love Notwithstanding gives us an up close and personal glimpse of a relationship at its crossroad.

Combining the talented efforts of two established Toronto actors with a story most people can relate to at one point in their life, this production is engaging and accessible.

Jet-setting between Vancouver and Toronto, Chris, performed by Tilly himself, is a self-proclaimed “New Age, Buddhist, Agnostic”, reconnecting with Jenna in Vancouver. As the two agree to keep their relationship limited and within a month’s time, truths and emotions begin to surface forcing them to question their fate with one another.

Most of the play is centered around each character’s complicated view on love, life and relationships. The dialogue is heartfelt and honest. Tilly’s characters are well-crafted and the writing is intelligent and humorous.

Sarah English as Jenna, is calm, collected, controlled and candid. Natural and real, English has a lovely stage charm. Tilly as the unattached yet sensitive Chris is the perfect contrast of energy and impulsivity, bursting with uncertainty about life and his career. Both Tilly and English show great chemistry, creating believable roles.

The Red Sandcastle Theatre works well once again as the backdrop for the apartment setting. This is the second show I’ve seen in this space, however, from a different angle this time. Contemporary furniture and small space living add to the sense of living in Vancouver.

Most of the action moves from the kitchen where much of the wine-drinking and conversations take place, and sometimes moving to the couch. I especially loved the moments we got to hear Chris share his songs with Jenna. Tilly not only shows good acting chops but the voice to go with it.

Love Notwithstanding is a play about making authentic connections, making choices and sometimes having to make sacrifices. A consummate artist, Grant Tilly creates for us a sweet and endearing play.

Details

-Love Notwithstanding is playing at the Red Sandcastle Theatre (922 Queen Street East) at 8pm on Wednesday-Saturday, May 9^th-May 20^th.

-Tickets cost $20 for adults and $15 for students/seniors/art workers. Advance tickets may be purchased by calling 416-845-9411.

-For more information visit www.granttilly.com

Photograph of Sarah English as Jenna and Grant Tilly as Chris provided by Meghan Hoople

I watched Unspoken on Thursday night. I was looking forward to this production as it was pitched to me as a similar play to Crash, a production I saw last week and absolutely loved. So the bar was definitely set high.

After reading about the show I thought Unit 102 would make an excellent venue as it is so small and intimate that the subject matter would seem all the more powerful. I couldn’t have been more wrong. 

This show fell flat for me; it felt a little forced. I couldn’t bring myself to care about the characters and the entire thing just left me feeling detached. The main theme centres around the idea of rape within relationships, not exactly something you can have a lukewarm reaction to, but that’s exactly how I felt.

There are components of this show that, when you look at individually, you would think have the makings for being a good show. The script is original, the poetry has a lot of depth, there are 22 characters played by five actors and the subject matter is current and relatable. All together however, it just failed to pack a punch.

The female actors definitely outshone the male, but the performances that stood out for me were by Drea Burck, who is exceptional, and Kristen Zaza. One of the two male actors was unbearable for me to watch. I know that’s harsh but I felt like I was watching a bad high school production where the kid just kept mucking up his lines, and the ones he didn’t, I still felt were over-rehearsed and sounded like they were being read verbatim.

I liked the set and the fact that the costume changes were done on stage. The actors all wore black sweats and white t-shirts (for the most part) but were able to throw on different shirts, dresses or skirts over top.

I wish I had brought someone with me to watch this performance as I would have loved to hear someone else’s thoughts on the piece. The audience was definitely not a reliable source of feedback since almost everyone there knew a cast member.

The theme of the Yeats and some other original poems were a great way to explore the subject matter of this show. The script won the first prize in the Hart House Players playwriting competition so maybe I missed something. I enjoyed the concept of the show and I think it has potential, but to me, it’s just not there yet.

Details

- Unspoken is playing at Unit 102 (376 Dufferin St) till May 13, 2012
- Performances run from Monday to Saturday at 8pm and Sunday at 2pm
- Tickets are $15 for adults or $10 for senior and students
- Tickets are available by emailing unspokentheatrecompany@gmail.com or by calling (647) 770-3837 . (Note: It’s a small venue so reservations are a good idea)

I’ve never been to a stage festival before so I went into the Festival of Ideas and Creation (runs from May 9-13) without any expectations. I’ll admit, I was excited for a grab-bag style of evening, with readings and short performances, and lots of variety to keep me interested.

The overall theme at this year’s Festival of Ideas and Creation is sound and music, a theme they stayed true to, based on the three performances I attended. Those who are interested in attending the Festival can choose to see one, or all, performances in the evening and each event is completely free. All you have to do is reserve tickets online before the show, although there is a rush line for last minute tickets.

Housed in the Berkeley Street Theatre, there are several performance spaces in this oddly shaped structure, which allowed different events to take place in different theatres, or rooms. The first performance I saw was called Noor Over Afghan, an opera piece that takes the meaning of my sister’s keeper to a whole new level. The audience saw the first 40 minutes of the show and it only included the opera songs; there were no costumes, no set, with only veils to help simplify the story and differentiate between characters. After it was over, the audience was invited to fill out a brief questionnaire asking which character resonated the most with them, if they had any questions about the performance and more. As there were a few things that were confusing to me about this brief performance, I didn’t hesitate to fill out the form, and I’d be curious to learn how much the writer and composer will take audience suggestions into account going forward with the production.

After the first performance was over, audience members mingled and were offered cheese and crackers, brownies and cake pops that I could only assume were from Starbucks, one of their sponsors. The first performance started late and ran late, thus causing the second performance to also start late. The audience for the second production had to kill time in the chilly outdoor courtyard as the staff dealt with technical issues in the theatre where the second show would take place. This felt very disorganized and we weren’t able to see the second piece until over a half-hour after it was meant to start.

The second performance was called Ocean Carving and told the interesting immigration story of a Toronto woman who swam from mainland China to Hong Kong all in efforts for a better life. With only two actors, this piece was very interesting as it used video, music and movement to tell the fascinating tale.

The final piece was titled In Conversation with Jason Rutledge and offered a very relaxed atmosphere with an interview component and a chance to hear him play some music from his newest project The Arsonists.

Because each night of the Festival is different, each person who attends will have a different experience. Aside from the disorganization of the evening, I found it really enjoyable to check out a few different shows that I might not otherwise see. A lot of the pieces that are being performed will later become full productions, and these short pieces almost serve as previews so that you can be sure to attend the full performance when it does hit the theatre circuit. Plus with an amazing price tag (free!), you really can’t go wrong.

Details:

- The Festival of Ideas and Creations is playing at Berkeley Street Theatre (26 Berkeley Street) until May 13, 2012
- Shows run from May 9 – May 13, with the earliest show starting at 7pm and the latest show starting at 9:30pm
- All tickets are free and are available online and at 416-368-3110; a limited number of tickets will be available at the door and rush tickets for sold out shows will be released 5 minutes before the show (with the rush line beginning one hour before the show)

I knew little of Luba Goy, of Royal Canadian Air Farce fame, before coming to her one-woman show on May 10, 2012. Luba, Simply Luba (Pleiades Theatre), playing at the Berkeley Street Theatre, discusses all the people that have helped shaped her life and the woman she is today.

She is incredibly accomplished. A child of Ukranian immigrants, she grew up in Ottawa, she attended National Theatre School of Canada, performed in Stratford, has appeared in numerous stage productions, and has won many awards including the Governor-General’s Performing Arts Award for Royal Canadian Air Farce.

There were nice touches throughout the show, such as the use of mini props to illustrate various scenes and memories of her life. Goy’s love of family adds warmth, and her comedy comes alive when impersonating the various characters she’s encountered.

Her stories and impressions are punctuated by musical accompaniment by Victor Mishalow, which really sets the mood – the play begins with clever interplay between the two artists, and you’ll wish it continued throughout. The show is full of anecdotes starting from her childhood journey on the boat all the way to be invited to a state dinner.

The main area for improvement would have been the structure of the show. Occasionally jumpy and at times unfocused; the play’s lack of a true narrative thread leaves you struggling to relate to its protagonist. My show partner found it extremely hard to follow as well.

Is the play about her father? Is it about a Canadian-Ukrainian immigrant? Is this about getting into comedy? Is this about where she ended up? Is this about freedom people for the people of Ukraine? It doesn’t have to be about only one of these things but the sum of these ideas is too much for ninety minutes and one woman – no matter how talented she may be.

The most compelling story line is Luba’s relationship with her father. Focusing on expressing how this shaped her career as an actress and perhaps her relationship with religion would to me have been perfect – but that is completely my personal preference. He seems to colour every aspect of her life and how she looks at it.

I think the most important thing to note about this show is that many of the individual elements were well done – there are just too many, and together they are too cluttered. That said, one-woman shows are hard to get right – particularly autobiographical ones.

Making creative – let alone editorial – choices about events in your own life, as something that may have had great importance to you personally is difficult, and even more so when rendered on stage.

Details

- Luba, Simply Luba is playing at Berkeley Street Theatre (26 Berkeley Street) until May 26, 2012
- Shows run May 10-12, May 14-19, and May 22-26 at 8pm. There are matinees at 2pm on May 19, and 26, with a special seniors matinee on Victoria Day (Monday May 21 at 2pm)
- Tickets are available online, or through the box office at 416-368-3110– Ticket prices are $33 for adults, and $22 for seniors and students. The seniors discount matinee is $18.

My first real, coherent thought, five minutes into Beyond The Cuckoo’s Nest: “The people who made this should make more things. Things that can be appreciated by people who love the theatre.”

My next coherent thought, a couple minutes later: “Thank goodness these people make theatre for teenagers. This is the kind of thing that turns them into people who love theatre.”

I mean, listen. I love YPT, and I have seen fantastic work there, and I know good and well that their production values are serious business, but the talent assembled on this project is tremendous, full of the kind of synergies theatregoers adore. Soo Garay is in it, and when Soo Garay is in anything you know it cannot help but have marvelous moments because she makes them. Here, as the adult facilitator of a group for youth with mental illnesses, she brings her particular talents to bear – how very present she is in her look, how responsive in her energy, how she waits and works in a scene, the slight tremor of her body which together with her deep groundedness always puts me in mind of a tall, old-growth tree.

I heard three verses and the choruses from everyone last Fringe season about David Patrick Fleming in Raton Laveur, how smart and intense and inexorably crazypants he became over the course of the show, which earned top marks all over the place. He’s the original Flubber here, boinging off everyone and everything, gaining energy as he goes. When things go wrong – and they do – he’s so scary and scared I found myself grinding my teeth with anxiety for him. Er, his character.

Miranda Edwards and Brendan McMurtry-Howlett round out the youth group in less flashy roles than Fleming’s Jude, but they son’t slouch in his shadow. Edwards’ Patricia is legitimately all over the place, reflexive and reflective in the particular way of teenaged girls, trying to understand herself by projecting a character that fits the moment until something sticks. Trey, played by McMurtry-Howlett, is an avoidant jock who simply wants to be Normal, with a father who enforces that endeavor vigorously. A lesser actor might have played Trey in a single, toe-scuffing note, but McMurtry-Howlett makes use of everything playwright Edward Roy gives him, using a remarkably developed array of teenaged tones and inflections to play it on.

In general, I prefer fewer technical elements to more of them. I mention this so you’ll know how much of a compliment I intend to pay when I say that Andy Moro’s projections onstage throughout functioned almost as a fifth character for me. Moro, who in another incarnation is codirector of the Kensington Festival of Lights, does absolutely brilliant things here. His projection is like magic, generous without ever being too much; never ever distracting or pulling focus. It makes me wish I were doing a show that could support projections sometime soon, so I could hire him.

My sole complaint: there was quite a bit of swearing, I think to make the kids feel as if the play was, you know, on their level. On their side. Instead, it provoked giggle-fits in the teenagers every time, distracting from the action onstage. If I were Edward Roy, I’d go back and edit them out – the actors do plenty to get the youth audience feel seen, heard, and understood. A sprinkling of unprintable words is just distracting.

This show is aimed at teenagers, but I’d encourage adult theatregoers to see this anyhow, if only to enjoy the craft, which is present in spades.

Details

- Beyond The Cuckoo’s Nest plays at Young People’s Theatre, at 165 Front St E in Toronto until 17 May.

- Performances are at 10:15am and 1pm for the remainder of the run

- Tickets cost between $10 and $20 and can be had online or by calling 416.862.2222

The Real World? brilliantly captures a dysfunctional family at the Tarragon Theatre

This is by far one of the best pieces of theatre I’ve seen in years. Tarragon Theatre’s recent production of renowned French-Canadian playwright Michel Tremblay’s The Real World? is an example of outstanding theatre.

Phenomenal acting coupled with an intriguing script and intelligent staging make The Real World? intensely raw and unforgettable.

This story is far too common. A dysfunctional family, riddled with abuse, guilt, fear, shame, and resentment.

When aspiring playwright Claude writes a play about his family and shares it with his mother Madeleine, she is outraged and their world begins to unravel.

The story is a play within a play, in which two worlds collide. The narrative, intricately dissected by Claude, represents his perceived reality. Matthew Edison is cast perfectly as the sensitive and intellectual Claude.

The “real” Madeleine, played by Jane Spidell is proud, stoic, unattached and reluctant to face the harsh reality that Claude yearns for her to see. The second Madeleine, played by Meg Tilly, is emotional, crippled with pain and ready to break free. Both Spindell and Tilly are outstanding in their portrayals.

Director Richard Rose successfully interprets this complicated play with such precision and insight, the intersection of characters acting simultaneously is seamless and flawless.

Set and costume designer Charlotte Dean brilliantly captures the 1960s era of a middle class family. She vividly creates each character with accuracy and detail through specific and heightened costume choices. The picture perfect home set in a proscenium stage with Claude occasionally wandering in and out of it added to our own presence as a fly on the wall.

As the household collapsed, so did the outside world. The thunderous lightning storm created by lighting designer Kevin Fraser and sound designer Emily Porter added to the overall highly emotional atmosphere, making it ever more convincing. It was just as unnerving as the revelation of Claude and Mariette’s troubled childhood.

Sophie Goulet, as the washed up go-go dancer and sister Mariette, was a standout. She embodied every inch of the character from her mannerisms, vocal tone, down to her gum chewing. She was tough, yet vulnerable, deprived of true affection.

Both Tony Nappo and Cliff Saunders in the role of Alex, Claude’s sleazy, sexist and absent father give tour de force performances.

Within minutes of leaving the theatre, my guest and I were messaging our friends to come and see this show. Intensely powerful and moving, be prepared to be transformed. This is just as much a commentary on family relations as it is about theatre. Vulnerable, honest and ferociously real,The Real World? personifies the power of theatre and delivers at every level.

Details

-The Real World? is playing at Tarragon Theatre’s Mainspace (30 Bridgman Avenue, Toronto, ON.) from April 24-June 3rd, Wednesdays through Saturday at 8pm and Sunday matinees at 2:30 pm. Saturday matinees also take place at 2:30pm on May 12th and May 19th

-Tickets may be purchased by calling the Tarragon Box office at 416-531-1827 or by visiting www.tarragontheatre.com

-Tickets range from $39-$51. Senior and student prices also available. Rush tickets are available for $12.00 at the door for Friday night performances (on sale at 6pm) and Sunday matinees performances (on sale at 1:00pm) for all shows of the 2011/12 season.

Photograph of Jane Spidell, Meg Tilly, Matthew Edison and Cliff Saunders by Cylla von Tiedemann

The production was loosely set in China. During the overture a clip from a documentary about the efforts of a Chinese family to repurpose a crumbling temple was projected. This temple was the inspiration for the set that dominated the production. The set was beautiful however any connection between the story of the Chinese family and the Greek myth on which Semele is based was lost on my companion and I.

I greatly enjoyed the orchestra’s interpretation of the overture. The opening attack was decisive and did a wonderful job of establishing the mood for this classic moral tragedy.

Jane Archibald was magnificent in the title role. The brilliance and silvery shimmer of her tone was ideal for the characterization of the fatally flawed, vain heroine. Her prodigious agility and freedom on high pitches is enviable. My companion was likewise heartily impressed with her singing.

I also enjoyed Allyson McHardy in the role of Ino/Juno. Her dark and creamy tone was well suited to the dolorous and vengeful character she portrayed. Her duet with Ms. Archibald was stunning because of the stark contrast in their timbres.

I admire the spirit of risk taking inherent in Zhang’s directing. That being said, some of his risks were difficult to interpret. Some choices were highly effective, most notably the use of floor to ceiling, stage left to stage right, paneled mirror during Semele’s performance of third act aria “Myself shall I adore”. The mirror reflected not only Semele but the conductor, orchestra and audience. This choice made a great deal of sense and was used to great dramatic effect.

On two occasions, Zhang made the decision to use music that was not part of Handel’s score. The first instance was at the end of act I. Singer Amchok Gompo Dhondup entered from the back of the auditorium while singing traditional Tibetan music. The effect of his vibrant, powerful, raw vocals was captivating and provided a very distinct contrast to Handel’s music. They symbolism of this choice was not clear to me or my companion. The performer is not a character in the opera and the connection to the story was not apparent.

The second instance was right at the end. The opera closed out with the chorus, clad as Chinese monks, chanting. The chorus that usually concludes this opera was omitted. According to the program, the decision to alter the end of the opera was in keeping with the Buddhist ideals of the impermanence of all things. Suffice it to say, the use of music which is not part of the original score, while omitting music that is, is highly unusual in an opera.

There was a great deal of hype about the use of sumo wrestlers in this production. The fighters appeared during the chorus at the end of Act II. While the use of the wrestlers was certainly humourous and their agility and athleticism was impressive, the connection to the story and this particular chorus number seemed arbitrary. We were also puzzled by the fact that while the opera was ostensibly set in China, sumo wrestlers are Japanese.

The motives behind many of the creative choices were not clear to me. It works well if one is able to shut off the part of the brain that seeks meaning and just go with it. All I will say about the donkey is that it provided excellent comic relief, massive phallus and all.

The COC Ensemble studio will be performing in this production on May 23. The ensemble studio is COC’s training program for young opera professionals.

Details:
- Semele is playing at Four Seasons Centre for the Performing Arts (145 Queen St. W.) until May 26, 2012.

- Performance dates and times are:

• Wed. May 9, 2012 at 7:30 p.m.
• Fri. May 11, 2012 at 7:30 p.m.
• Sun. May 13, 2012 at 2 p.m.
• Wed. May 16, 2012 at 7:30 p.m.
• Sat. May 19, 2012 at 7:30 p.m.
• Tues. May 22, 2012 at 7:30 p.m.
• Thurs. May 24, 2012 at 7:30 p.m.
• Sat. May 26, 2012 at 4:30 p.m.

- Ticket prices range from $45 – $318. Patrons under 30 years of age can purchase tickets for $22. Standing room and rush tickets go on sale at 11:00 am on the day of the performance. Standing room tickets are $12.00, rush tickets are $22.00
- Tickets are available online, or through the box office at 416-363-8231

Photo of Jane Archibald and William Burden by Michael Cooper