Mooney on Theatre

Review: Dani Girl (Talk Is Free Theatre & Show One Productions)

Tasha DiLoreto — Wed, 22 Feb 2012 17:46:26 +0000

Written by Christopher Dimond and Michael Kooman, a duo who has been dubbed some of the hottest up-and-coming writers in New York, Dani Girl tells the story of a nine year old girl battling leukemia. It is set entirely in a hospital, and in Dani’s imagination (played by Gabi Epstein), as she struggles to understand cancer and overcome the disease. While in the hospital, she meets and befriends Marty, a young boy played by Jonathan Logan, who Dani likes to refer to solely as Meriwether. A fact which she learns from snatching up his hospital chart like any nine-year-old would do when curious and impatient for information.

Dani Girl is ultimately a musical that centres around Dani’s question to figure out, “Why is cancer?” Her hope is that by figuring this out, her hair (that has fallen out from her chemotherapy treatments) will grow back and thus she will beat the disease. Her rationale: girls with beautifully French braided hair that has been dyed and teased can’t die. It illustrates a nine-year-old’s logic yet at the same time presents a question that I imagine many people faced with cancer probably ask themselves at some point.

Although this musical is largely about how two nine-year-old children react when faced with death, I think their coping mechanisms are very universal and can be mirrored in adult behaviour. Dani deals with death by using her imagination to dream up fantastical games and adventures that often involve her guardian angel, Rafe. Marty deals with death by watching movies. He likes to get lost in films and focuses on heroes because heroes never die or cry. However, we see another type of coping mechanism through Dani’s mother who is played by Amanda LeBlanc. She copes with her daughter’s hospital stays and progression of disease by constantly praying for a miracle.

Epstein does an incredible job of portraying a nine-year-old girl, down to the expressions and attitudes one would expect of a child of that age. But it was Jeff Madden, the actor who plays Dani’s guardian angel Rafe, who steals the show. He did an incredible job of making the audience howl with laughter in what could have otherwise been a very heavy play.

My companion and I agreed that the best part of the play was when he pretended to be a Latino drug dealer, belting out a hilarious rap about different types of real and imagined, drugs. He finished by accusing Dani of having some serious misconceptions about the Latino community which was just the icing on the cake of an amazingly funny scene.

Dani Girl deals with a dark and morbid subject matter surprisingly well. It has enough cheerful songs to help offset the wholly depressing theme of the story and enough comic relief to be thoroughly enjoyable. It features an extraordinarily talented cast who really make this production special. In a way, it reminded me a lot of how Rent dealt with AIDS; it took a deep and scary disease and presented it in an uplifting manner that left the audience with a very important take home message. I’m sure you can guess at what that message might be, but if you can make it out to Dani Girl, you’ll know for certain.

Details:
- Dani Girl is playing at Theatre Passe Muraille (16 Ryerson St) until March 4, 2012
- Shows run Wednesday to Sunday at 7:30pm with additional matinees on Saturday and Sunday at 2pm
- Ticket prices are $33
- Tickets are available online or at 416-504-7529

Photo by Susan Benoit

Cheap Theatre in Toronto for the Week of February 20, 2012

Sonia Borkar — Tue, 21 Feb 2012 17:00:28 +0000

Five For Twenty (or Less)

This week we have five great live theatre shows you can check out in Toronto. The first play is a piece of visual theatre for all ages, the next is a psycho thriller that consists of two one-act plays, we also have a documentary play about a farmer, a show based on historical women like Virginia Woolf, Anne Sexton and Slyvia Plath and finally we have an autobiographical show that looks at the struggles of a composer. There is definitely something for everyone this week, so get out there.

EVERYTHING UNDER THE MOON by Shary Boyle and Christine Fellows (Harbourfront World Stage/Power Plant Contemporary Art Gallery). Multimedia and visual artist Boyle and musician Fellows combine live drawings, projections and music in an all-ages show. Opens Feb 18 and runs to Feb 23. $15, child $10. Enwave Theatre, 231 Queens Quay W. 416-973-4000,harbourfrontcentre.com.

PSYCHO THRILLER THEATRE (Sunny Breaks Productions/Breen Godfrey). Two one–act plays by Breen Godfrey are staged. Opens Feb 16 and runs to Feb 26. $12. Unit 102 Theatre, 376 Dufferin. breengodfrey@gmail.com.

SEEDS by Annabel Soutar (Crow’s Theatre/Porte Parole). A Canadian farmer battles a biotech giant in court in this documentary play about the future of food. Previews Feb 18-21. Opens Feb 22 and runs to Mar 10. $10-$35. Young Centre for the Performing Arts, 55 Mill. 416-866-8666,crowstheatre.com.

THE BIG SMOKE by Amy Nostbakken and Nir Paldi (Theatre Ad Infinitum Canada/Why Not Theatre). This solo a cappella performance is inspired by the lives of Virginia Woolf, Sylvia Plath and Anne Sexton. Previews Feb 21. Opens Feb 22 and runs to Mar 4. $25, stu/srs $18, Sun pwyc. Factory Theatre, Studio, 125 Bathurst. 416-504-9971, factorytheatre.ca.

TICK, TICK… BOOM! by Jonathan Larson (Half Pint Theatre). Larson’s autobiographical musical looks at an aspiring composer trying to make a start in 90s New York City. Feb 23-26. $16.Buddies in Bad Times Theatre, 12 Alexander. 416-975-8555. theatre-musical.com

Eye-Catching Toronto Theatre for the Week of February 20, 2012

Sonia Borkar — Mon, 20 Feb 2012 17:00:27 +0000

Here is what’s going on in Toronto theatre this week. There are several great shows to catch for the week of February 20, 2012: ** Shows marked with the double asterisks and in red are the ones that make Wayne, our Managing Editor, wish he could exist in multiple parallel universes so he could check them all out.

Already covered by MoT

A BRIMFUL OF ASHA by Asha and Ravi Jain (Why Not Theatre). An Indo-Canadian man discovers that his Indian vacation is actually a wife-seeking scheme by his parents. Previews Jan 24-25. Opens Jan 26 and runs to Feb 25. $18-$22, stu $15-$19. Tarragon Theatre, ExtraExtra Space, 30 Bridgman. 416-531-1827, tarragontheatre.com.

BECKETT: FECK IT! (Queen of Puddings Music Theatre/Canadian Stage). Samuel Beckett’s shorter plays are combined with contemporary classical music from Irish composers inspired by Beckett’s appreciation for the absurd. Opens Feb 17 and runs to Feb 25. $22-$49. Berkeley Street Theatre, 26 Berkeley. 416-368-3110, canadianstage.com.

HUGHIE by Eugene O’Neill (The Alley Theatre Workshop). A night clerk at a NYC hotel hears a small-time hustler’s tale of woe in this one-act play. Previews Feb 7. Opens Feb 8 and runs to Mar 3. $25, stu/srs $20. Theatre Centre, 1087 Queen W. 416-538-0988. theatrecentre.org

LES CHEMINEMENTS DE L’INFLUENCE (PATHWAYS OF INFLUENCE) Coleman Lemieux & Compagnie presents a solo dance work created and performed by Laurence Lemieux as a tribute to her father. Opens Feb 15 and runs to Feb 25. $25. The Citadel, 304 Parliament. 416-364-8011, colemanlemieux.com.

LUCIA DI LAMMERMOOR by Gaetano Donizetti (Toronto Opera Repertoire). This story of tragic love, set during the reign of Mary, Queen of Scots, is performed in Italian with surtitles. Opens Feb 15 and runs to Mar 3. $25, stu/srs $15. Bickford Centre Theatre, 777 Bloor W. 416-978-8849, toronto-opera.com.

PENNY PLAIN by Ronnie Burkett (Ronnie Burkett Theatre of Marionettes). A reclusive old woman’s sanctuary is disrupted by a chaotic outside world. Previews Jan 20-22. Opens Jan 24 and runs to Mar 4. $38-$55. Factory Theatre, 125 Bathurst. 416-504-9971, factorytheatre.ca.

POTTED POTTER by Daniel Clarkson and Jefferson Turner (Starvox Entertainment/Potted Productions). Clarkson and Turner use costumes, props and music to perform all seven Harry Potter books in 70 minutes. Previews Feb 11-12. Opens Feb 14 and runs to Mar 4. $29.95-$99.95. Panasonic Theatre, 651 Yonge. 1-800-461-3333, mirvish.com.

TOSCA by Giacomo Puccini (Canadian Opera Company). A passionate woman is caught in a web of corruption, lust and betrayal in this Italian opera. Opens Jan 21 and runs to Feb 25. $12-$318. Four Seasons Centre for the Performing Arts, 145 Queen W. 416-363-8231, coc.ca.

And the rest…

A NEW HOPE by Shelley Hamilton and Stan Christie (Shelley Hamilton Productions). Hamilton performs her solo play about the first African-Canadian communities in Canada in support of the Stephen Lewis Foundation Arts Fund. Opens Feb 5 and runs to Feb 26. $25. ING Direct Café, 221 Yonge. 416-826-6855. shelleyhamilton.ca

DANI GIRL by Christopher Dimond and Michael Kooman (Talk is Free Theatre/Show One Productions). A young girl with leukemia goes on a magical journey to reclaim her health in this musical. Previews Feb 16-17. Opens Feb 18 and runs to Mar 4. $33. Theatre Passe Muraille, 16 Ryerson. 416-504-7529, tift.ca.

DIVISADERO: A PERFORMANCE based on the novel by Michael Ondaatje (Necessary Angel/the Film Farm). A family is forever changed by a violent event in this musical adaptation about memory, identity and love. Previews Feb 8. Opens Feb 10 and runs to Feb 26. $25-$35, preview $10, Sun pwyc. Theatre Passe Muraille, 16 Ryerson. 416-504-7529, necessaryangel.com.

EXPLAIN YOURSELF! (Hardworkin’ Homosexuals). This series features artists performing a personal analysis of current queer culture. Feb 26 at 8 pm. $5.75-$6. Goodhandy’s, 120 Church. goodhandys.com.

FORBIDDEN BROADWAY by Gerard Alessandri (Civic Light Opera Company). This musical revue salutes and spoofs famous musicals. Opens Feb 22 and runs to Mar 10. $28. Fairview Library Theatre, 35 Fairview Mall. 416-755-1717, civiclightoperacompany.com.

FOUR AT THE WINCH QUEBEC Toronto Dance Theatre presents works by Estelle Clareton, Lina Cruz, Deborah Dunn and Jean-Sébastien Lourdais. Opens Feb 23 and runs to Mar 3. $20-$26, Sun pwyc. Winchester Street Theatre, 80 Winchester. 416-967-1365, tdt.org.

FUCK U FRIDAYS (Buddies in Bad Times Theatre). This erotic cabaret features Coco la Creme, Jenna Syde and others. Feb 24 at 10:30 pm. $5. 12 Alexander. 416-975-8555. buddiesinbadtimes.com

FUNKYLAND (Famous People Players). The blacklight theatre company presents a twist on Lewis Carroll’s Alice In Wonderland. Opens Jan 24 and runs to Apr 28. $62, srs $56, child $40 (includes meal). 343 Evans. 416-532-1137, fpp.org.

GHOSTS OF VIOLENCE Atlantic Ballet Theatre of Canada presents a full-length ballet by choreographer Igor Dobrovolskiy about domestic homicide and its victims. Feb 25 at 8 pm. $29-$99. Bluma Appel Theatre, 27 Front E. 416-366-7723, atlanticballet.ca.

HIGH LIFE by Lee MacDougall (Soulpepper). An unlikely group of masterminds plan ‘the perfect crime,’ with dangerous and comic results. Previews Feb 13-20. Opens Feb 21 and runs to Mar 28. $51-$68, stu $32; rush $22/stu $5. Young Centre for the Performing Arts, 55 Mill. 416-866-8666, soulpepper.ca.

LE PATIN LIBRE (Reg Hartt). The contemporary skating troupe presents a video and spoken word performance followed by a live performance of excerpts from its ice show at a nearby rink. Feb 19-21. $15-$20. Cineforum, 463 Bathurst. lepatinlibre.com.

**LONG DAY’S JOURNEY INTO NIGHT by Eugene O’Neill (Soulpepper). O’Neill’s story of isolation, addiction and despair reveals a day in the life of his own family. Previews Feb 14-22. Opens Feb 23 and runs to Mar 28. $51-$68, stu $32; rush $22/stu $5. Young Centre for the Performing Arts, 55 Mill. 416-866-8666, soulpepper.ca.

LOVE FROM AFAR by Kaija Saariaho (Canadian Opera Company). A 12th-century French troubadour has a long-distance love affair with a woman in Tripoli through a pilgrim who takes their messages back and forth. Opens Feb 2 and runs to Feb 22. $12-$318. Four Seasons Centre for the Performing Arts, 145 Queen W. 416-363-8231, coc.ca.

**OBEAH OPERA by Nicole Brooks (b current Performing Arts/Theatre Archipelago). Based on historical texts about the Salem witch trials, this opera tells the story of five women accused of abominable spiritual acts. Previews Feb 16-19. Opens Feb 22 and runs to Mar 4. $25, stu/srs $20. 918 Bathurst Cultural Centre, 918 Bathurst. 416-533-1500, bcurrent.ca.

SANCTUARY SONG by Abigail Richardson-Schulte and Marjorie Chan (Theatre Direct). This opera for young people looks at the journey of an Asian elephant from captivity to freedom. Opens Feb 10 and runs to Feb 20. $10-$20 (ZooCheck benefit $50-$100 at zoocheck.com).Artscape Wychwood Barns, 601 Christie. 416-537-4191, theatredirect.ca.

**SEEDS by Annabel Soutar (Crow’s Theatre/Porte Parole). A Canadian farmer battles a biotech giant in court in this documentary play about the future of food. Previews Feb 18-21. Opens Feb 22 and runs to Mar 10. $10-$35. Young Centre for the Performing Arts, 55 Mill. 416-866-8666, crowstheatre.com.

SENSES Bridge to Artists presents a journey through the five senses with choreography by Vlad, Linda Garneau and Julia Cratchley. Feb 18-20. $35-$40. Betty Oliphant Theatre, 404 Jarvis. bridgetoartists.com.

SONNETS FOR AN OLD CENTURY by José Rivera (Column 13 Actors Company). In a waiting room for the afterlife, souls have one chance to concisely relate the story of their lives. Opens Feb 14 and runs to Feb 25. $12. Palmerston Library Theatre, 560 Palmerston. 416-536-0048, column13.org.

SPEAKEASY (Les Coquettes). The cabaret theatre company presents burlesque, music and more inspired by vintage NYC nightclubs in a dinner theatre show. Feb 14. Feb 20. $35-$85.Revival, 783 College. lescoquettes.com.

TAPTOO by John Beckwith and James Reamy (Toronto Operetta Theatre). Set around the War of 1812, this operetta looks at the founding of Upper Canada and Toronto. Opens Feb 24 and runs to Feb 26. $66-$95. Jane Mallett Theatre, 27 Front E. 416-366-7723, torontooperetta.com.

THE EROS CABARET Eros, Thanatos & the Avant-Garde Cabaret Series present dance and interdisciplinary performances by Anjelica Scannura & NIKKI, Marcy Mussari, Kirstie Keenan and others, plus films and music. Feb 22 at 9 pm. $12-$15. Rivoli, 332 Queen W. dancetodancefestival@hotmail.com.

THE LONESOME WEST by Martin McDonagh (Toronto Irish Players). A young priest tries to resolve violent disputes between two brothers following their father’s death. Opens Feb 23 and runs to Mar 10. $20, stu/srs $18; opening night $50. Alumnae Theatre, 70 Berkeley. torontoirishplayers.com.

THE OPEN COUPLE by Dario Fo and Franca Rame (G&T Productions Co-op). This satire looks at gender politics and the evolving nature of marriage. Opens Feb 21 and runs to Feb 27. $22, stu/srs $15. Red Sandcastle Theatre, 922 Queen E. 416-845-9411, redsandcastletheatre.com.

THE SHAKESPEARE CHALLENGE (Shakespeare in Action). Nine amateurs perform an abridged version of A Midsummer Night’s Dream in the company’s annual funder. Feb 24 at 8 pm. $40.Arts & Letters Club, 14 Elm. 416-703-4881, shakespeareinaction.org.

TRIBUTE: A MOVING HISTORY OF CANADIAN BLACKS IN DANCE dance Immersion and Harbourfront NextSteps present a showcase of dance, film and spoken word paying homage to Len Gibson, Dindi Lidge, Zab Maboungou, Paul Pettiford and others. Feb 23-25. $27-$32, stu/srs $22-$27. Fleck Dance Theatre, 207 Queens Quay W. 416-973-4000, harbourfrontcentre.com.

**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 Jun 30. $35-$130. Princess of Wales Theatre, 300 King W. 416-872-1212, mirvish.com.

ZERO HOUR by Jim Brochu (Lia and Danna Matthow). This solo show looks at the art, humour, temper and wit of Jewish artist Zero Mostel. Previews Feb 8. Opens Feb 9 and runs to Mar 11. $59-$69.50. Bathurst Street Theatre, 736 Bathurst. 1-855-985-2787, zerohourshow.com.

ZOMBIE PROM (fu-GEN Asian Canadian Theatre Company). This themed fundraising party for the company features music, food, prizes and more. Feb 25. $40. Berkeley Street Theatre, Rehearsal Hall, 26 Berkeley. 416-920-2828, fu-gen.org.

*Listings based on NOW stage listings*

Review: Beckett: Feck It! (Queen of Puddings Music Theatre and Canadian Stage)

Dorianne Emmerton — Mon, 20 Feb 2012 00:36:13 +0000

Toronto’s CanStage and Queen of Puddings Music Theatre explore Samuel Beckett’s absurdist plays using Irish classical music in Feck It!

One of the first things you get to see in Beckett: Feck It! is a very phallic-looking device, followed by an actor presenting his bum and scrotum. This isn’t obscene – the actor is wearing underwear – but it is very funny. The combination of lowbrow humour with rather highbrow existentialist concepts is one of the hallmarks of Absurdist Theatre. The humour is necessary comic relief because the philosophy expressed would be too depressing, and the rote repetition of the stage action would be insufferable, without it.

I love this stuff. I love playing with structure and form and language and I love exposing the meaninglessness of the trappings of human society. But it’s not to all tastes.

Beckett: Feck It! is a collection of short plays by famed Irish absurdist Samuel Beckett presented with contemporary classical music from Irish composers inspired by his work. I’m well-versed in Beckett’s other plays, but I have little classical music knowledge, so I brought a companion who is educated in classical music. She and I were both impressed by the soprano, Shannon Mercer, who does all the singing in the show. She says the composers are obviously talented though she herself prefers more traditional forms of classical music.

For example, one piece begins with beautiful traditional-type music à la Schubert (Beckett’s favourite composer) but then jarring interruptions are introduced and they increase in frequency. This suits Beckett’s style and themes: the juxtaposition of ugly sounds interjected into pretty music using the same instrument (Mercer’s voice) shows how people use artifice to make the harsh realities of existence more palatable. It also mimics how Beckett wrote his dialogue as if it were music, using rhythm, repetition and variation to create meaning as much as – if not more than – the actual words of the text.

While many people who prefer a realistic narrative will probably not appreciate much of this show, I cannot imagine that anyone would not be moved by at least one musical number, a traditional Irish love song. My companion was particularly impressed by Mercer’s transition from contemporary-classical to a very authentic Gaelic folk style.

The staging for this show is very inventive. Most of the stage is at a heavily raked angle toward the audience, which would seem to render that entire area unusable. But it is used, and to good comic effect in most cases.

My favourite scene was three talking heads (literally) who relate a story and then tell the exact same story again. For me, the second delivery has variations in tempo and pitch that changed the meaning and kept it interesting (and I loved the staging). For my companion it was simply repetitive. The point here is: Absurdism is to a particular taste. If you already like it, you will like this show. If you know it’s not your cup of tea, Beckett: Feck It! will not convince you otherwise. But if you’re not sure, come see this show to try it out. If it turns out that it’s not to your taste you will probably still enjoy a lot of the music.

Details:
- Beckett: Feck It! is playing at the The Berkeley Street Theatre locationof Canadian Stage at 26 Berkeley Street.
- Performances run to February 25th, 2012
- Tickets are $22 to $49
- Tickets are available at 416.368.3110 or purchase online at www.canadianstage.com

Picture of Tom Rooney and Michal Grzejszczak by John Lauener

Review: Everything Under The Moon (World Stage)

Heather Bellingham — Sun, 19 Feb 2012 15:50:38 +0000

Toronto’s Harbourfront Centre stages Everything Under The Moon, a fantastical visual performance for all ages

Harbourfront Centre’s World Stage 2012 season begins with Everything Under the Moon, an adventure tale pairing hand-animated projected image with narrative song at the Enwave Theatre.

Undertaken by visual and performance artist Shary Boyle and songwriter and performer Christine Fellows, Everything Under the Moon is part of the Fresh Ground new works programme, which seeks artists who don’t normally set out to create child-friendly performances. The result can be described as performance art for kids.

The show tells the story of a honeybee, Idared, and a brown bat, Limbertwig, on an urgent quest to save themselves and their respective species. On their journey they encounter an owl, a man, a woolly mammoth, a mummified child and a top-hat wearing spider. Everything Under The Moon intends to touch on themes of loss, environmental threat, adaptation and the restorative powers of friendship and community.

Does it deliver on those themes? I wasn’t sure. I personally found the story to be a little lacking. It’s quite confusing, and I often didn’t understand why the characters were taking certain actions to complete their quest. It didn’t flow for me, although maybe “kids these days” don’t necessarily need the story to do so.

The show’s visual aspect is the impressive part of Everything Under The Moon, utilizing a combination of multiple overhead projectors, costumes and puppets. It was really interesting watching how the story would be told next – they would switch from hand-painted images to giant lighted puppet heads to shadow puppets and beyond in rapid succession. This becomes especially intriguing to the eye because it utilizes the entire room, and not just the stage. I found it interesting to watch the projectionists (who have a place in the audience) just to see how everything was being done.

The show’s visuals are paired with an original score performed on xylophone, timpani, Wurlitzer, ukulele, cello, trumpet, percussion and narrative song. The score both punctuates the action and progresses the narrative, and the sheer number of instruments the performers could play was impressive, to say the least.

Everything Under the Moon has a running time of 55 minutes.

Details:

- Everything Under The Moon is playing at the Enwave Theatre, 231 Queens Quay West
- Performance dates: Sun. Feb. 19, 2012: 2 p.m. (Skate & Show packages available), Mon. Feb. 20, 2012: 2 p.m. (Skate & Show packages available), Wed. Feb. 22, 2012: 10 a.m. and Thu. Feb. 23, 2012: 7 p.m.
- Tickets are $15, or $10 for children 12 and under.
- Tickets are available at the Harbourfront Box Office. Call 416-973-4000, email tickets@harbourfrontcentre.com or visit harbourfrontcentre.com/worldstage.
- Skate & Show packages feature 2 adult and 2 child tickets to either the Feb. 19 or 20 performance of Everything Under the Moon, 4 skate rentals and a $15 voucher for LakesideEATS all for $65. Contact the Box Office and ask for the “Skate and Show” package.

Review: Reasons To Be Pretty (Theatre Bassaris)

Adam Collier — Sat, 18 Feb 2012 20:37:45 +0000

Reasons To Be Pretty plays at Toronto’s Red Sandcastle Theatre and focuses on relationships and vulnerability

Before the performance began, I turned to the stranger sitting beside me. What have you heard – I asked – about Reasons To Be Pretty?

She didn’t know this work, though she was familiar with other plays by Neil LaBute, the playwright behind Reasons To Be Pretty, which runs until February 18^th at Red Sandcastle Theatre. She described Mr. LaBute’s style as gritty.

At intermission, she amended that description. “Visceral,” she said.

I couldn’t say it better.

Watching Reasons To Be Pretty I sat near the edge of my seat, begging for the characters to cut deeper into one another. It hurt to watch, I also couldn’t get enough.

Is this what’s called sadomasochism?

The pain – emotional assaults and physical humiliations – the characters inflict on one another commanded my attention, and brought me to unpalatable wincing-squirming-gut-wrenching responses. But – perversely – this is what I crave from theatre.

The acting was superb, which helps.

But perhaps what makes Reasons To Be Pretty such an affecting work, is Mr. LaBute’s characters are acutely vulnerable and, seemingly, at the same time, pretty much totally insensitive to one another.

In short, they are plausible humans.

Despite this – or, maybe, because of this – they can change, for better and worse. And for an aging young named Greg, played by Rob Renda, the former is certainly true.

The counterpoint to Mr. Renda’s character, is Andrew Loder’s Kent. Greg and Kent work together at a factory, where they pack boxes.

As the action moves on, and we learn the passion Kent has for baseball and calloused outlook on his wife, Carly, played by Sarah Jurgenson, our sympathy – or, at least my sympathy – was lost.

Matching the trajectory of Greg’s nuanced transformation though, is that of Steph, played by Sarah Brose.

Much like Mr. Renda’s part amongst the two male characters, Ms. Brose’s is the more demanding, I think, of the two female parts.

While Reasons To Be Pretty follows two couples, the relationship between Steph and Greg seems to be the focus.

Overall, the cast was a joy to watch. Many of them, I’m told, are graduates from York University’s drama program.

If you can see this show, please do. Particularly if you like the work of Sam Shepard or John Patrick Shanley, this is probably for you. It’s a fantastic work, with a fantastic cast and director.

Details

– Reasons To Be Pretty is playing at Red Sandcastle Theatre (922 Queen Street East)
– Performances are from Wednesday, February 15^th to Saturday. February 18^th at 7:30PM
– Tickets are $10.00
- Tickets are available at the door, or by calling 416-845-9411. It’s also worth checking out the website for the company producing the show, which is: http://theatrebassaris.com/

Photo: Sarah Brose as Steph in Reasons To Be Pretty, in a photo by Lauren Passander

Review: Les Cheminements de L’Influence (Coleman Lemieux & Compagnie)

Adelina Fabiano — Fri, 17 Feb 2012 21:32:10 +0000

A daughter’s dance and a father’s life of research combine in Laurence Lemieux’s Pathways of Influence at Toronto’s Citadel

I would have never thought one’s research methodologies in political science could be translated onto the stage through dance. Choreographer, performer and company founder Laurence Lemieux does just this in her innovative dance piece Les Cheminements de L’influence (Pathways of Influence), co-produced by Lemieux and her husband and business partner, Bill Coleman.

Borrowing its title from her father’s published book on political science, Les Cheminements des L’influence, Lemieux creates a 50-minute dance piece honouring her father, Vincent Lemieux, and his extensive and inspiring work in the field of political science. An undoubtedly original piece, Lemieux dissects her father’s theories using intricate contemporary movement, interesting musical compositions, impressive lighting designs, and a newly renovated theatre space in the round (well, more like a square).

Walking into the new Citadel theatre space, formerly known as a Salvation Army Kitchen in the Regent Park neighborhood, left me transformed and uplifted. Redesigned by Diamond Schmitt Architects, the three-storey building was purchased by Lemieux and Coleman as a studio dance space with a “pay-what-you-can” yoga studio in the basement, and a modern performance space for rent. Intent on revitalizing arts and culture in the community, this newly opened building was the perfect space for Lemieux’s intimate solo performance.

Dressed in a winter coat and toque, Lemieux enters the stage, inconspicuously sitting down in a theatre seat next to an audience member. A grid of LED theatre lights illuminate the stage above as Lemieux begins to walk along a path reaching every corner of the space.

Open to interpretation, Lemieux takes us on a passage through time of what appears to be her personal understanding of her father’s unwavering dedication to his research, and his sensitivity towards Quebec and its people. At times free-flowing and light, at other times heavy and indirect, Lemieux captures through movement and emotion the trials, tribulations, joys and frustrations that go along with a lifetime commitment to research.

As Lemieux dances, we hear an original score by composer Gordon Monahan, blending Chopin with church-like music and political speeches or hockey commentary in the background, all reminiscent of Lemieux’s childhood memories. Although I sometimes found the spoken word in the background disengaging at times, I still thought it added an unusual quality which suited the overall piece given its context.

Dance has that ability to bring people together. Through dance, people share, interact, and celebrate. It has a universality that transcends spoken language. Les Cheminements de L’influence (Pathways of Influence) is a passionate dance performance by someone who will certainly be as influential as her father. With Coleman Lemieux and Compagnie’s passion and initiative, dance in the community may finally be accessible to all.

Details

-Les Cheminements de L’influence presented by Coleman Lemieux & Compagnie will be playing at the Citadel (304 Parliament Street) from February 16^th-February 2th, Wednesday through Saturday at 8pm.

-Tickets cost $25 and can be purchased by calling the box office at 416-364-8011 or online at www.colemanlemieux.com

Photograph of Laurence Lemieux by John Lauener

Review: Lucia di Lammermoor (Toronto Opera Repertoire)

Samantha Wu — Fri, 17 Feb 2012 20:58:04 +0000

Community opera at its best, Toronto Opera Repertoire offers accessible and entertaining shows like the Italian Lucia di Lammermoor

If you’re fascinated by the opera (like I am) but are nervous about a heavy ticket price, not understanding the show and feeling overwhelmed being stuck in a tuxedo, ball gown, opera glasses and stuffy opera crowd (like I have been), then the Toronto Opera Repertoire (TOR) is perfect for you.

Opera – complete with stunning sets, stunning voices, amazing musicianship, costumes and supertitles (projected to the ceiling) combined with the dedication and accessibility of community theatre is what the TOR is all about. Their production of Lucia di Lammermoor playing at the Bickford Centre is a perfect introduction to the world of opera.

Written by Gaetano Donizetti, Lucia di Lammermoor made its original debut inNaples in 1835. The story is very akin to Romeo and Juliet – a tale of warring families and forbidden love. Lord Enrico Ashton (Yevgeny Yablonovsky) has murdered the father of Sir Edgardo di Ravenswood (Jay Lambie) who then swears vengeance on the Ashton family until he meets Lucia Ashton (Carrie Gray) and falls madly in love. But as can be expected, tragedy follows.

The entire performance is sung in Italian and for those non-Italian speakers, the English translation is projected above the stage. As with watching any foreign subtitled film, sometimes it can be a little difficult to follow. During the scenes with the chorus and cast on stage, I found myself occasionally forgetting to look up for the titles being captivated by what individual members on stage were doing, how they were reacting to the scene that was playing out. I’d end up missing a line or two, but that doesn’t take away from understanding the show.

Opera is not easy to perform. There’s no question about it. During most musicals there are at least some spoken parts in between songs. With opera, everything is sung and sung in a way that demands a remarkable amount of vocal control and strength. So hats off to this entire cast of community performers, many of whom perform with the TOR as a side passion to their regular day jobs. I was accompanied for the performance by my friend Laurien who was as blown away as I was with the stamina of the performers throughout the show.

As Laurien and I discussed the show during the two intermissions, we found ourselves both captivated by the performance of Anthony Fauré who played multiple roles as Lord Arturo and Normanno, Captain of the Guard. Though neither role was particularly large, the moment he stepped onto the stage and began to sing, he captivated the stage and the audience.

Laurien noted the slight delay in cohesion of the chorus to gel with the flow of the story and summed it up to opening night jitters. I was duly impressed with the performances of Yevgeny Yablonovsky for the diligence and perfection he put in his role and of Carrie Gray for the sheer magnitude of her vocal ability. Also, pianist Rina (Hyewon) Kim who provided the music for the entire production – amazing work.

The beauty of his performance lies in the fact that it is generated from the community performing classic pieces and being produced in a way that is accessible, open and welcoming to those that may not normally get a chance to experience the opera – noted by what appeared to be a class of high school music students in the audience. You don’t require a ticket into high society to be welcome to the show, you won’t need to dress up, you don’t even require opera glasses – you simply need to experience.

Details

- Lucia di Lammermoor is showing at the Bickford Centre (777 Bloor Street West)
- Performances are on February 15, 18, 24, 29 and March 3 at 7:30 pm with a matinee showing on February 26 at 2 pm.
- Tickets are $25 and $15 for students and can be purchased in advance online at UofTtix.ca, by phone by calling 416-978-5549 or at the door.

Photo of Carrie Gray and Yevgeny Yablonovsky by James Thomson.

Bad Dog Theatre Now Permanently Residing At Comedy Bar

Dorianne Emmerton — Fri, 17 Feb 2012 16:38:48 +0000

Bad Dog Theatre’s improv shows are now at the Comedy Bar with great shows every week

Bad Dog Theatre used to be at Broadview and Danforth and was known as Toronto’s home of improv. I saw many hilarious shows there, most of which are reviewed elsewhere on this site. So it was very sad when they shut down the venue, at pretty much exactly this time last year.

It wasn’t surprising though. They weren’t hurting for audience, but the space had tiered seating it was ineligible for a liquor license. Not only do booze and comedy go hand in hand, but bar sales are an important source of revenue for comedy clubs.

After only a brief hiatus, Bad Dog’s flagship show Theatresports was up and running again at Comedy Bar (945 Bloor West.) And now, one year later, Bad Dog and Comedy Bar are happily cementing their relationship. Comedy Bar has a new cabaret space that means Bad Dog can have shows even when there is a headliner in the main space. Bad Dog will be staying in Comedy Bar for the foreseeable future. I interviewed Bad Dog‘s Artistic Producer Julie Dumais about the arrangement.

The way Bad Dog sees it the positives of this partnership are overwhelming. Comedy Bar is an established venue with a growing clientele of comedy-going regulars. This residency allows them to concentrate on the quality of programming and our classes, rather than devoting energy and financial resources to facility management or carrying an unwieldy lease. Comedy Bar is easily accessible by transit, as it’s right by Ossington station, and it has a full bar and menu.

The agreement will see Bad Dog at Comedy Bar for several years. They may someday have their own dedicate venue again but it’s not a priority now. They’re focusing on putting on good shows, treating their performers and students well and growing the audience for unscripted comedy.

Here’s what’s coming up for Bad Dog Theatre:

- Theatresports (Saturdays – 8pm): Be entertained by stellar, top-tier teams of improvisers. To create opportunities for emerging talent, they’ve also added a 7pm warm-up to the main event – the Theatresports Undercard, included with every Theatresports ticket.

- Bad Dog Academy Tuesdays: weekly showcase of students and projects being workshopped in their Performance Series classes at 8pm – followed by Natasha Boomer’s wildly popular Wheel of Improv at 9:30pm – a fun and rowdy opportunity for new improvisers to get up and try out their stage legs alongside established improvisers and members of the Bad Dog faculty.

- Mondays-in-the-Cabaret: a diverse rotation of fresh and inventive unscripted comedy formats and styles, among them: Troubadour, the award-nominated competitive musical improv show; Toronto Secrets, inspired by the popular confessional art phenomenon PostSecret; and an improvised cabaret anchored by popular local troupe, Sex T-Rex.

- Wednesdays: their very best and most seasoned improvisers (in show formats other than Theatresports). Planned Wednesday highlights include the return of Egg Zeppelin – comedy, music & real bacon with Marcel St. Pierre, Kris Siddiqi and amazing guests, coming in March – and Throne of Games “Lord of the Rings meets the West Wing… with more laughs and no script”, playing in April.

Review: Potted Potter (Potted Productions)

Dana Lacey — Wed, 15 Feb 2012 20:52:11 +0000

Potted Potter at Toronto’s Panasonic Theatre offers laughs for fans and non-fans of all ages

Potted Potter is a goofy, fast-paced celebration of character acting – one actor plays Harry Potter, another plays the other 300 characters from J.K. Rowling’s imaginary world.

The story: a pair of Brit playwrights embark on the ambitious goal of performing all seven Harry Potter books in 70 minutes. There’s Jeff (Jefferson Turner), the straight man and Potter devotee that must overcome his dream of a high-quality production complete with fire-breathing dragons and full-blown Hogwarts sets. And then there’s Dan (Daniel Clarkson), who’s a lot less worried about accuracy: he hasn’t read the books.

You don’t have to be a Potter nerd to love this play. The friend I brought didn’t care a wick about the series – she hasn’t read the books and never bothered with the movies. But no matter, she laughed harder than I did.

Of course, there are plenty of rewards for Muggles that love Monty-Python-esque humour or wizardly trivia. There’s Dementor humour, ginger jokes, Rowling worship, jabs at the movies and a tear-jerking Dobby death scene. On opening night, audience members got their own pair of Potter glasses and a program shaped like a scroll (no owl deliveries, unfortunately).

This is a play that doesn’t bother to take itself seriously. The actors’ chemistry is hilarious, making room for improv and the occasional aside – after a British in-joke fell flat, Jeff deadpanned, “We should have done more research”. A lively Quidditch match between audience members got physical when lovely young woman plucked from the crowd at random proceeded to brutally tackle Jeff. I spoke to her afterward and found out she’s a former rugby player.

I particularly like how Dan reduced some major characters to one-liners or scowls (Snape: I’m bad…or am I?) The cherry on this production is the epically magical sing-off between the boy wizard and the One That Shall Not Be Named (“You said Voldemort!” “I said Voldemort!” “I said it again!” “Shut up!”).

Photo of audience loot by Dana Lacey

Details:

- Potted Potter is playing at Panasonic Theatre (651 Yonge Street) until March 25, 2012
– Shows run Tuesday to Sunday at 7pm, with additional matinee performances on various days (check the full schedule).
– Ticket prices range from $30 – $100
- Tickets are available online, or through the box office at 416.872.1212