This week’s cheap theatre post is a mixed bag of different types of theatre. For $20 or under a ticket, these five plays will give you a great night out. Check them out!

Aer Time (Femmes du Feu/Zero Gravity Circus). This workshop performance series features new works by aerial artists including Jen Roy, Mark Segal, Kirsten Edwards and others. May 26 at 2 pm. $10. Centre of Gravity West, south entrance, 213 Sterling, suite 100. hollytreddenick@gmail.com.

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.

Dance Through Time Opera Atelier presents the School of Atelier Ballet performing Renaissance, baroque and 19th-century dances as part of Doors Open Toronto. May 27 at 2 pm. Free. St Lawrence Hall, 157 King E. operaatelier.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.

Rehearsal Hall (Fresh Herbs at Tarragon). This mini-festival of creations by member of the Young Players Unit and other youth-oriented programs features 10-minute plays, a staged reading and a public panel. May 25-27. Pwyc. Tarragon Theatre, Near Studio, 30 Bridgman. 416-531-1827, tarragontheatre.com.

Already Reviewed 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.

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.

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.

**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.

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.

Odysseo (Cavalia). Theatre artists and horses create a spectacle combining equestrian arts, stage arts and special effects. Opens May 15 and runs to Jun 3. $29.50-$119.50. White Big Top, 324 Cherry. 1-866-999-8111, cavalia.net.

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.

**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.

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.

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.

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 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.

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

360 Screenings (360 Screenings). This immersive cinema experience combines the screening of a film with elements of theatre. May 25 at 7 pm. $60. Secret Location, see website for details. 360screenings.com.

Aer Time (Femmes du Feu/Zero Gravity Circus). This workshop performance series features new works by aerial artists including Jen Roy, Mark Segal, Kirsten Edwards and others. May 26 at 2 pm. $10. Centre of Gravity West, south entrance, 213 Sterling, suite 100. hollytreddenick@gmail.com.

Arena Harbourfront Centre NextSteps and Canadian Contemporary Dance Theatre present six contemporary dance works including works by Colin Connor, Sylvie Bouchard, Carol Anderson and Deborah Lundmark. May 25-26. $25-$38, stu/srs $22.50-$35. Fleck Dance Theatre, 207 Queens Quay W. 416-973-4000, ccdt.org.

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.

Contes Pour Enfants Pas Sages: 8 Cautionary Entertainments by Christopher Butterfield (Continuum Contemporary Music). Music, voices and projection are used in this staging of Jacques Prévert’s darkly themed animal fables. May 27-29. $30, stu/srs $15. 918 Bathurst Centre for Culture & the Arts, 918 Bathurst. 416-924-4945, continuummusic.org.

Dance Through Time Opera Atelier presents the School of Atelier Ballet performing Renaissance, baroque and 19th-century dances as part of Doors Open Toronto. May 27 at 2 pm. Free. St Lawrence Hall, 157 King E. operaatelier.com.

Dear World by Jerry Herman, Jerome Lawrence and Robert E Lee (Civic Light Opera Company). An eccentric old lady stands up to a corporation and saves the world in this musical. Opens May 23 and runs to Jun 9. $28. Fairview Library Theatre, 35 Fairview Mall. 416-755-1717, musictheatretoronto.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.

**Ghosts Of Violence Atlantic Ballet Theatre of Canada presents a full-length ballet by choreographer Igor Dobrovolskiy about domestic homicide and its victims. May 26 at 7:30 pm. $29-$99. Bluma Appel Theatre, 27 Front E. 416-366-7723, atlanticballet.ca

Huit Femmes by François Ozon (Les Indisciplinés de Toronto). Eight women try to figure out who murdered a man in this adaptation of the French film. May 24-27. $15, stu $10. Ecole Gabrielle-Roy, Auditorium, 14 Pembroke. lesindisciplinesdetoronto.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.

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.

Paul & Marie by Roberto Angelini (Two Snakes Productions). A couple risk their secure life to pursue fulfilling careers in the arts. Opens May 24 and runs to Jun 2. $25. George Ignatieff Theatre, 15 Devonshire. twosnakesproductions.com.

Pieces by Sarah Illiatovitch-Goldman (Cue6 Productions). The show’s script sequence is randomly drawn before each performance in this play about sex and betrayal. Opens May 24 and runs to Jun 9. $20-$30. Unit 102 Theatre, 376 Dufferin. cue6.ca.

Queer Sisters: Bernice Abbott And Elsa Von Freytag-Loringhoven (Ryerson Modern Literature and Culture Research Centre). This salon performance features multimedia dance and poetry. May 26 at 5 pm. Free. Rm GER 354, 111 Gerrard E. 416-979-5000 ext 7668, ryerson.ca/mlc.

**Redheaded Stepchild by Johnnie Walker (Nobody’s Business Theatre). Fundraising performance of the play about a boy dealing with his his new stepmother and a school bully. May 27 at 8 pm. $20-$25. Buddies in Bad Times Theatre, 12 Alexander. 416-975-8555, nobodysbusiness.ca.

Rehearsal Hall (Fresh Herbs at Tarragon). This mini-festival of creations by member of the Young Players Unit and other youth-oriented programs features 10-minute plays, a staged reading and a public panel. May 25-27. Pwyc. Tarragon Theatre, Near Studio, 30 Bridgman. 416-531-1827, tarragontheatre.com.

Rent by Jonathan Larson (Toronto Youth Theatre). Artists of NYC’s Lower East Side struggle to make ends meet in the shadow of the AIDS epidemic in this musical. Opens May 24 and runs to Jun 16. $45-$60. Lower Ossington Theatre, 100A Ossington. 416-915-6747, lowerossingtontheatre.com.

**Semele: Ensemble Studio Performance (Canadian Opera Company). Young talent perform lead roles in the COC’s production of the Handel opera. May 23 at 7:30 pm. $22-$55. Four Seasons Centre for the Performing Arts, 145 Queen W. 416-363-8231, coc.ca.

Sister Mary’s A Dyke?! by Flerida Peña (Carlos Bulosan Theatre). A teen learns the truth about her all-girl Catholic boarding school in this workshop presentation. May 25-27. Pwyc. Fringe Creation Lab, suite 403, 720 Bathurst. carlosbulosan.wordpress.com.

Spring Showcase 2012 Canada’s National Ballet School presents students performing classical and contemporary works. May 24-26. $50, stu/srs $25. Betty Oliphant Theatre, 404 Jarvis. 416-964-5148, nbs-enb.ca.

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 Heart In Motion 2012Cardinal Carter Academy presents a student performance. May 22-23 at 7:30 pm. $15. 36 Greenfield. 416-393-5556 ext 82221.

The Hypochondriac by Molière (East Side Players). A man is obsessed with his imaginary ailments in this classic farce. Opens May 24 and runs to Jun 9. $20, stu $15. Papermill Theatre, 67 Pottery. 416-425-0917, eastsideplayers.ca.

The Outlaw Stripper’s Ball (Skin Tight Outta Sight Rebel Burlesque). The audience chooses the acts to be performed in this burlesque revue. May 25 at 9 pm. $20-$25. Gladstone Hotel, Ballroom, 1214 Queen W. outlawstrippersball2012.eventbrite.com.

The Turn Of The Screw by Benjamin Britten (Against the Grain Theatre). The 20th-century opera based on Henry James’s 1898 ghost story is presented. Opens May 24 and runs to May 27. $40-$60. Helen Gardiner Phelan Playhouse, 79A St George. againstthegraintheatre.com.

This Is Bulgaria BALKANTO Entertainment presents the Bulgarian National Folklore Ensemble performing ethnic songs and dance. May 25 at 8 pm. $40, stu/srs $30, child $20. Edward Johnson Building, MacMillan Theatre, 80 Queen’s Park. 416-825-9336, balkanto.ca.

*Listings based on NOW Stage Listings*

Looking up idly before the show began, an unexpected thing caught my eye.

A puppet with a very large head was perched on a balcony overlooking the stage.

The blurb describing Urban Odyssey – running until May 20^th at Theatre Passe Muraille – says, in part, that the show deals with the allure and disillusionments of the American Dream.

Puppetry hadn’t occurred to me though as a way to do this.

But maybe now is the right time for – quite literally – larger-than-life depictions of the monstrous economic and social forces that are out there. Presumably, they shape the pursuit of the American Dream the most.

And so as an audience address was made, introducing Panamerican Routes / Rutas Panamericanas, I could barely wait for its inaugural show, Urban Odyssey by the New York-based company Loco7, to begin.

My mouth fell open a few times during the show.

The first time was when a half-man half-horse takes the stage. There are several puppeteers listed in the program, so I’m not sure which one played the horse. But this guy was fantastic; wandering the cacophonous metropolis onstage with a sympathetic innocence.

He was like a doe-eyed – or, I guess make that foal-eyed – Disney character.

There weren’t any giant puppets onstage in that sequence. But the poignancy of the horse, with his cumbersome movements in the context of the other business-like characters was, for me, deeply felt.

Another jaw dropping moment came with a bit of tent puppetry performed by Maura Nguyen-Donohue.

What is tent puppetry? It’s a term I just made-up. But it’s the only way I can describe how Ms. Nguyen-Donohue transforms a polygon fabric shelter into a kinetic figure.

It wasn’t exactly larger-than-life – thoughUrban Odyssey does feature some fifteen-foot marionettes – but again, so poignant. Entrapment, awkwardness and vulnerability came through crystal clear to me.

When the juggernaut-like marionettes are onstage, the imagery was very satisfying. It felt like such a perfect representation of how intimidating too-big-to-fail corporations are.

Aside from visceral shock, and fantastic rhythms that accompany the marionettes, they weren’t as cool as the smaller scale sequences. But let me put that on a bell curve: Urban Odyssey, for me, is almost indescribably imaginative. And just because I felt more connected to other sequences it is not to diminish the majesty of the technical and creative achievements of those eye-catching behemoths.

Urban Odyssey is one of the most exciting, invigorating shows I have ever seen. So I’d strongly, strongly recommend checking it out.

Details

– Urban Odyssey is playing at Theatre Passe Muraille (16 Ryerson Street) until May 20^th – this Sunday
– The remaining performances are 7:00 PM on May 19^th and May 20^th at 2:00 PM
– Tickets are $30.00, with special prices for students and seniors
- Tickets can be purchased at the Theatre Passe Muraille box office

Believe it or not I had never seen a performance of the massive Broadway hit, Rent. I was excited to say the least and my expectations were pretty high. I’m glad to say that this production more than exceeded my high expectations.

Performed by an ensemble of the graduating class of Sheridan College’s Music Theatre Performance Program, there is never a dull moment in this show. I have to say that the calibre of the talent blew me away. There’s no way anyone would categorize this as a “school production”, it has all the makings of a grand Mirvish show. 

I was lucky enough to see this show with, self proclaimed Rent-head and my managing editor, Wayne Leung. I was grateful for his insight as he has seen this show on Broadway and several other productions over the years. He also loved the show and thought everyone did a stellar job. That’s quite the compliment coming from him.

The music and lighting were superb as was the set. An industrial looking metal staircase that covers the expanse of the stage. Wayne said it was a really fresh way to see the set and he liked what they had done with it. I have nothing to compare it to, but I agree. The costumes, hair and make-up were spot on as well.

The entire show had a really raw, gritty feel. Exactly the way I had pictured it.

The cast is huge and while I cannot single out everyone in the cast of 32, there were a couple of really stand-out performances. Andres Sierra is fabulous as Angel and steals every scene he’s in. Julia McLellan is outstanding as Maureen and has the right spit fiery attitude. Michelle Bouey who plays Mimi makes the perfect sex bomb. Like I said though, everyone in this production is fantastic.

For people that have seen Rent before, this production is still worth seeing. I heard a couple of people say that it was cool to see such a young cast (in their twenties) performing this show about people in their twenties as most productions always cast older actors. This was a welcome change.

The only problem with the show for me was that the music at times drowned out the actor’s voices. It seemed to be fixed by the end of the show on opening night so I’m sure it’ll no longer be an issue. It did however make it difficult to hear some of the lyrics that night.

The show is on the longer side at just over two and a half hours with an intermission but I promise you won’t be bored and it will leave you wanting more.

The show is on till June 3rd and showcases the future of Toronto theatre, this is your opportunity to check them out. You absolutely must!

Details

- Rent is playing at the Panasonic Theatre (651 Yonge St) till June 3, 2012
- Performances run Tuesday to Thursday at 7:30pm; Friday & Saturday at 8pm; Saturday & Sunday 2pm
- Tickets range from $25 to $60
- Tickets are available online via Ticket King, or by calling (416) 872 1212

Photo of cast by John Jones

I had the rare opportunity to check out an afternoon children’s show yesterday and boy was it fun! It was great to see all the little kids come out and get excited to see some live theatre. The kids ages ranged from toddlers to about seven-year-olds I would say. I think that slightly older kids would enjoy it too. I know I did.

The Adventures of Pinocchio starts off with Jiminey Cricket bursting onto the stage. She introduces herself to every single audience member personally and gets the kids all warmed up and excited for the show. There is a lot of interaction between the audience and the actors, which the kids seemed to love. It’s funny how most adults find shows with audience participation awkward and embarrassing but kids are much the opposite.

The show is only about an hour long and follows the classic Pinocchio story, but there are a few current references which helps make it relateble to kids living in Toronto. For example Pinocchio and Geppetto’s favourite restaurant is Swiss Chalet.

I thought the show was smart, funny and full of moral guidance. I liked that there were some adult jokes in there too – nothing inappropriate in the slightest – like a few digs at mayor Rob Ford. The parents loved it.

The entire cast did a great job. Pinocchio (Monique Renaud) couldn’t have been any cuter; Jiminey Crickets (Amy Keating) was a bursting ball of energy; and Geppetto (Dan Hershfield) does a pretty convincing Italian accent. My show partner Kerry-Ann and I really enjoyed Faisal Butt’s performance as the fairy and the evil Mr. Stromboli. He was hilarious throughout the show. At one point he does an impromptu rap song and manages to mention every child’s name in it while being funny. Genius.

I loved that there was more than just the show for the kids. There were cookies and juice afterwards and the kids got to meet the cast who were signing show posters and giving them out to the kids – such a nice touch.

If you’re looking to spend a fun day with a child, I think this would be a great activity. I’m sure all the kids who were there will be talking about this one for a few days. Go check it out.

Details

- The Adventures of Pinocchio is playing at Unit 102 Theatre (376 Dufferin St) until May 21, 2012
- Performances run from May 16 to 21 at 2pm. Please note Friday, May 18 is a 4pm show instead.
- Tickets are $10 for kids and $15 for adults
- Tickets are available at the door (reservations are recommended as it’s a small space), online or by calling (905) 510 8210.

The characters delight in Home, playing in Toronto’s Distillery District

David Storey’s play Home captivated the audience within the first three minutes. We were laughing even though we really didn’t have any idea what was happening or where the play was set. We knew geographically that it was England; the actors had English accents. Other than that…

And that’s all I’m going to say about the story, any more and I would spoil it.

Home is an ensemble piece about relationships that develop when we’re out of our element. The plot is so minimal that it’s almost non-existent. Not a lot happens in the hour and twenty minutes of the play. It’s the characters that hold our attention as we slowly learn the where and why of the story. This is a play that calls for nuanced performances. With a strong talented cast it’s wonderful. With a lessor cast it would be a disaster.

It’s also a play that has to be set in a certain time in England. The dialogue is very specific to a time and place. Home was written in the late sixties and seems to take place in the fifties, possibly the early sixties. Not only do the actors have to be talented enough to carry off the performance, they have to do it with an accent.

The accents were great. The actors sustained them and still spoke clearly enough that I could hear them. This might not seem like a big thing but bad accents make me crazy.

Home must have been a surprise to theatre goers when it was first performed in 1970. Nothing really goes in a straight line. There are silences on stage, terse exchanges between two of the characters and non-sequitors abound. Slowly – with a phrase here and a look there - we begin to figure out the where of the piece and to some extent the why and how of the characters.

The cast – Oliver Dennis, Michael Hanrahan, Brenda Robins, Andre Sills and Maria Vacratsis – work together perfectly. Even though I said that nothing much happens you have to watch all the characters carefully, not just the character who is speaking, so that you don’t miss anything. My friend Elaine said that it would be interesting to see the play again now that we know the story so that we could really concentrate on the nuances.

Home is a play that seems very simple but becomes more layered as you think about it. And I will be thinking about it. It’s well worth seeing.

Details:

- Home is playing at the Young Centre for the Performing Arts (33 Mills St) until May 20, 2012
- Performances are at 7.30 with matinees on most Wednesdays and Saturdays at 1.30
- Tickets range from $32.00 to $68.00
- Tickets are available online, at the box office and by phone at 416.866.8666

Photo of Maria Vacratsis, Michael Hanrahan, Oliver Dennis & Brenda Robins by Cylla von Tiedemann

Cavalia presents its new equine fantasy show Odysseo in Toronto’s Port Lands through June 3, 2012.

I love horses, who doesn’t? They’re beautiful, graceful, intelligent animals. Unfortunately, being a city boy, my experience with horses is limited to some occasional trail riding. Still, I have a profound appreciation and respect for these magnificent creatures.

Founded in 2003 in Montreal, Cavalia has been touring the world with its blend of theatrical circus and equestrian arts. It’s perhaps a bit reductive and unoriginal to refer to it as “Cirque du Soleil with horses” but the comparison is apt; Cavalia’s founder Normand Latourelle was also a founding member of Cirque du Soleil.

Cavalia attempts to do for equestrian shows what Cirque du Soleil did for circus; that is, overlay a theatrical concept incorporating music, lighting and choreography and applying high-gloss production values to create a grand ethereal spectacle.

Odysseo, the company’s second production, is enormous in scope and scale. The show plays on a stage the size of two NHL-hockey rinks under a gleaming white big top erected in the Toronto Port Lands. The cast features 61 performers of the equine variety as well as 49 humans performing a variety of acts; riding in formation, trick riding, roman riding, show jumping as well as human acrobatics.

I’m a huge fan of the “nouveau” circus genre and I’ve seen dozens of shows by Cirque du Soleil and other companies like Cirque Éloize and 7 Fingers that blend circus arts and theatre. When done right, nouveau cirque shows can elevate physical performances to the realm of art.

Odysseo is a grandiose spectacle with high production values but I found that it lacked the level of depth, artistry and theatricality that the best shows in the theatrical circus genre can deliver.

Not surprisingly, the show is all about the horses, they are the unmistakable stars of the evening. They are gorgeous to look at and a lot of fun to watch. However, after a while, I found that most of the acts went on a few beats too long and started feeling repetitive. As a result the show as a whole felt a little one-note to me.

That isn’t to say it’s unenjoyable and there were several aspects of the show I really liked. The production design is ambitious. I was really impressed by the set; the main ring extends far back into a giant hill and projections on a massive cyclorama extend the depth of field often to stunning effect. At times in the show, layers of curtains and scrims fly in and cut off the back of the stage making the performance space more intimate.

While the production design is impressive I found the show itself a little confused. The show lacks a coherent theme or visual identity, the scene jumps around randomly to different locales; from Africa to Arabia to Easter Island to the North Pole, while the costumes all kind of have the same non-descript Mongolian goat herder look in a variety of colours.

The music, performed live by a five-piece band, is a vaguely world-beat, new-agey fusion, predominantly Celtic in influence. I found the Enya-esque score suffered from a sense of sameness. The music is merely atmospheric and doesn’t create dramatic tension, convey emotion or drive the action forward. I’ve often left Cirque du Soleil shows compelled to buy the CD of the music but I found Odysseo’s score largely forgettable.

As I mentioned, the horses are the stars of the show and subsequently I thought the human acts fell a bit short. The human merry-go-round and group aerial numbers weren’t as impressive in terms of skills, choreography and overall artistry that I’ve seen in other nouveau cirque-style shows.

The show does feature an energetic Guinean acrobatic troupe but I don’t think they were very well integrated into the rest of the show which created a bit of an unintentional racial subtext that sat uncomfortably with me. My date also pointed it out afterward so I don’t think I was the only one who noticed.

It’s true that Odysseo is only Cavalia’s second show and the company hasn’t yet had time to really evolve their style and develop their artistic point of view. I really hope they will in subsequent productions. I think a little more thought in the overall concept, design, and artistry of the show would add a level of sophistication to the production that would make the experience much more rich, engaging and satisfying.

As it stands Odysseo is very pretty to look at but falls short of being emotionally engaging or intellectually stimulating. Still, most people will be going for the horses and they’re beautiful and everything you’d expect them to be. If you’re a horse-lover or a fan of grand spectacle then Odysseo is a show you’d probably enjoy.

Details:

• Cavalia’s Odysseo is playing under the White Big Top in Toronto’s Port Lands at 324 Cherry Street through June 3, 2012
• Shows run Tuesday to Saturday at 8:00PM, Saturday at 3:00PM and Sunday at 2:00PM, there is no show on Wednesday, May 16.
• Tickets $29.50 to $119.50 plus service charges
• Tickets are available by phone 1.866.999.8111, at the on-site box office or visit www.cavalia.net

Photo credit:

• Image from Cavalia’s production Odysseo

Stockholm plays at Toronto’s Nightwood Theatre

Stockholm takes place in a gorgeous kitchen that seems fully functional – i.e. it has running water and a light in the fridge – but actually has more uses than one would initially expect, as its many surfaces become planes and angles that the two lithe performers, Melissa-Jane Shaw and Jonathon Young, use to twist and turn against in moments of dance.

I won’t call these “dance numbers” as this isn’t in the genre of musical theatre. Stockholm has seamlessly integrated movement that furthers the action. These scenes-with-dance are often heavily erotic, showing us depths of the couple’s sexual connection that otherwise could not be shown on stage (not without becoming very controversial, at least.)

Shaw and Young are as adept at acting as at dance. Whether they are interacting with each other or addressing the audience, they are always fiercely engaging. As the show opens, they are a totally contemptible couple for being too wealthy, too happy, and more than a bit pretentious. They are young and beautiful; they shop at Whole Foods; they own an old Toronto home that they gutted and renoed; they spend their weekend afternoons at rep cinemas watching classic Ingmar Bergman films and disparaging popular “dick flicks and chick flicks”; they moon over each other at every spare moment.

Luckily, since any sort of narrative requires a conflict, I knew this couple couldn’t stay so seemingly carefree for too long. The truly toxic nature of their relationship is foreshadowed by a few very dramatic moments, and when things come to a head it is a fantastic use of physicality, lighting and sound.

This story could be mundane if it wasn’t handled so well; instead it highlights that this situation is important to explore simply because it is so common. When I was first watching it I was a bit surprised about how much the relationship’s problems were clearly the female character’s fault, particularly as this is a production of Nightwood, Toronto’s feminist theatre. However, as it has sat with me more, the man’s complicity has sunk in and become, in a way, more reprehensible than the woman’s behaviour.

Even if the dissection of a heterosexual, mainstream, yuppie relationship doesn’t sound appealing to you, the show is still absolutely worth seeing for the tight, professional direction, choreography, tech and performances.

 Details

- Stockholm plays at Tarragon Theatre, Extra Space (30 Bridgeman Ave) until June 3, 2012
- Shows are Tuesday to Saturday at 8:00 p.m., Wednesday 1:30 pm Saturday & Sunday at 2:30 p.m.
- Tickets are $15-$30
- Tickets can be purchased by calling (416) 531.1827 or online at www.tarragontheatre.com

Photo of Melissa-Jane Shaw and Jonathon Young by Karim Romero

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.