Category: theatre

Stage a Revolution: Day 3

Our first day at the 2009 Fringe involved two plays, a lot of nibbles, and the obligatory grounds exploration.

I was particularly interested to see Revolution Square, billed in the program as a multi-use area and internet cafe. What it is in actuality is a beer tent that substitutes coffee for beer, with four computers set-up with internet access. It’s a nice family-friendly idea that provides an expansive seating section, but we’ll have to wait and see if it is utilized.

The food vendors seem to be more spread out this year, with some booths actually set-up in the typically retail-only area in front of Fringe volunteer headquarters. In addition, I’m disappointed that the “Fringe midway” is gone – I wonder if poor attendance was to blame for its demise? Lastly, I’m sad to see that complimentary copies of the Edmonton Journal are not available on the grounds this year (they also eliminated this perk at the Heritage and Folk Festivals). We were told by an information booth volunteer that the Journal said that they could “no longer afford” to offer free papers. I can say that Fringe attendees are typically rabid for reviews, and people gravitated towards the papers that were readily available on site. I wonder if this change will result in a change in how people select their shows – from choosing based on star rating to choosing based on content?

Our first show of the day was Teatro la Quindicina’s The Oculist’s Holiday. The premise of vacation hijinx reminded us of A Rocky Night for His Nibs, but the tone of this play eventually changed from one of lighthearted fun to introspection and tragedy. I have to say that the pacing threw me off (Jeff Haslam’s purposeful stumbles took a while to get used to), but Barbara Gates Wilson’s almost regal presence helped stabilize the somewhat unpredictable turn of events. The end of the play has been resonating with me even now, hours later, and without giving anything away, was a reminder to embrace opportunity.

Later that afternoon, we took in LoveHateKill, also at the Varscona Theatre. Five separate playlets by five different authors ruminated on some variation of love, hate, and kill, which was a fun interpretive exercise. My favourite, in both plot and acting was “A Love Story” by Trina Davies, exquisitely brought to life by Shannon Blanchet, who is rapidly becoming an actress to watch (she was great in Teatro’s Evelyn Strange, and also starred this past season in Catalyst’s Nevermore). The playlet recounted a woman’s experience of falling in love with an accused killer, and her efforts to be with him. The rest were somewhat interesting (for example, “Social Sundays” highlighted a sadistically creative games night between couples), but not particularly notable. Mack loved the random interlude of the “Jai Ho” Slumdog Millionaire Bollywood dance.

We’ll be back on the grounds tomorrow – looking forward to it!

Ten Things to Love About the Fringe

My long list of love, in honour of the 28th incarnation of the Edmonton International Fringe Festival that runs August 13-23, 2009.

  1. Online Ticketing: the public at large was in arms when online ticketing was introduced two years ago, particularly because beloved at-the-door sales were sacrificed in the process. Since then, door sales have returned to front of house and some have finally embraced the convenience of the online system. Not surprisingly, I am one of them, and have been since the beginning. Being a crazy planner, I have most of my line-up identified within days of the program’s release, so ordering tickets for me is just the final step. Though I know some prefer spontaneously choosing a show, it’s still hard to argue against a system that reduces on-site lineups and encourages on-line exploration prior to the festival.
  2. Line-side Flyering: in my first few years of attending the Fringe, it amazed me that artists came out from behind the curtain to corral patrons the old-fashioned way – by doling out flyers themselves. Up until then, I thought there was a grand line of demarcation separating theatregoers from those that graced the stage, but at the Fringe – everyone is on the same level. Beyond that – I remember reading a quote a long time ago that referred to flyering as the truest form of advertising – who better to promote a show than those starring in it?
  3. Chatting with Fellow Patrons: when all of Edmonton’s theatre-loving public converges in the same area, you can expect some good conversations about theatre. It may seem odd at first to chat up strangers, but knowing that everyone has the same love of theatre in common breaks down many perceived barriers. I love finding out from those lining up next to me what they’ve seen and what they’re looking forward to seeing – the best reviews and recommendations are from fellow patrons.
  4. The Plays: perhaps this one is too obvious, but the Edmonton Fringe needs your help to break the ticket plateau of 77,000+. While that number seems like a lot, and did help us earn and keep the title of the largest North American Fringe for many years, we have now been surpassed by Winnipeg, who amassed over 81,000 in ticket sales this year. Given the maximum you will pay for a ticket is $14 ($12 of which go directly to the artist), it is not only a steal for some of the best theatre to hit the streets, but also $6-$10 cheaper than comparable productions in the city throughout the year.
  5. Outdoor Shows: a big draw for many who attend the Fringe are the outdoor performances. I think they really help set the tone on the grounds, as their amplified enthusiasm travels for miles around the stages. With the multitude of food vendors surrounding the performers, there’s no excuse not to grab something to nibble on, settle down, and enjoy.
  6. KidsFringe: I have no children, nieces or nephews to speak of, but KidsFringe holds a special place in my heart because it was where my Fringe experience began as a volunteer. You would be hard pressed to find an area of the grounds that becomes as lively as Adventure Park (christened “Revolution Park” this year) so early on in the day. From face painting to reader’s theatre, it’s a place for kids and their caregivers alike to enjoy some free fun.
  7. The Food: did you think I wouldn’t get around to mentioning food? I won’t claim that any of the booths are unique to the Fringe (the ubiquitous mini doughnut, green onion cake and chicken bhoona vendors frequent the summer festival circuit), but every Fringe-goer has their outdoor standby – mine is Funky Pickle Pizza. It seems the festival organizers have acknowledged the current economic situation as there is actually a page of food coupons in the program. Score!
  8. The Vendors: though craft shows may be all the rage now, I still love to stroll the vendor-lined alleys for handmade treasures. Whether it be jewelry, fashions or keepsakes, there are always interesting booths to be explored at the Fringe.
  9. Old Strathcona: even as the boundaries of the Fringe expand (even further north than last year’s New City BYOV – this year, a venue on Alberta Avenue joins the fray), the heart of the festival will always be Old Strathcona. The area’s businesses – retail and restaurants – are as much a part of the Fringe as the stages are. The festival doesn’t exist in a vacuum, and it’s always a delight when the shops offer special menus and sales in tandem with the Fringe.
  10. The Atmosphere: dodging crowds and buskers, overhearing snippets of reviews, resisting the temptation of deep-fried dough…there is something intangibly irresistible about just being on the grounds, immersed in the people, the smells, the sounds. There is a frenetic energy in the air and a palpable thirst for theatre. Can you feel it?

And although I listed ten different aspects to love, the truth is, the festival is a frenzy of it all rolled up into ten days. The Fringe is when Edmonton comes out to play.

See you at the Fringe!

I Heart the Fringe

For some people their yearly stampede moment happens when the fall fashion magazines arrive. For me, it is the day the Edmonton International Fringe program is released.

I got my copy yesterday (thanks, Mack!), and everything about it – the smell, the texture, the weight – infuses me with anticipatory glee for ten days of glorious theatre.

Mack just contributed a piece to Edmonton Stories centering around his discovery of live theatre in the city. It got me thinking about my own history with Edmonton’s theatre scene, which happens to be tied very closely with the Fringe Festival.

Back in high school, I was offered free tickets to a show by Marty Chan called The Bone House. Never being one to turn down anything complimentary, I accepted, and headed down to the Arts Barns for my first theatre experience. Centered around the hunt for a serial killer, The Bone House blew me away. The chills I felt were real, enhanced by the intimacy of the venue and the script’s dexterous ability to exploit the audience’s imagination. I couldn’t believe live theatre could be so exhilarating.

Actor Chris Fassbender was a standout in that play, so it was natural that when his name appeared in the cast for a Fringe show the following summer, I wanted to see it. That same year, I decided to volunteer for the Festival – it seemed like a great deal, the trade-off of time for Fringe dollars that could be redeemed for show tickets. Well, there wasn’t a better way to get to know what would soon become my favourite festival of the year – I volunteered for the next five Fringes. My fellow volunteers were fantastic, and I gained an appreciation for the festival as a whole as I worked through several teams over the years, including KidsFringe, Information, and Front of House.

I did stop volunteering a few years into stepping full-time into the workforce; it was easier to find the time when I was a student in high school and university. What didn’t stop, however, was my presence in Old Strathcona in mid-August, a time I look forward to every year.

Let’s not overlook the shows – my first Fringe show, Esther’s Hands, included a deafening gun shot, which left an indelible impression of tools available on stage to heighten tension. Or how about Stewart Lemoine’s Cocktails at Pam’s, for which I dragged a poor friend of mine to wait in line for nearly three hours, only to be faced with joke after joke involving 70s references that we did not understand. A year later, I gave Lemoine a second chance (Shocker’s Delight!), and by golly, I fell in love. I’m a Teatro la Quindicina subscriber now. And I will always remember Nighthawk Rules, the first Fringe play I took two of my good friends to – and believe me, they will never forget it either.

This year’s theme is Stage a Revolution – Executive Director Julian Mayne wanted to draw attention to the relative affordability of the Fringe when compared with some of the other festivals in the city, and is encouraging all Edmontonians to embrace live theatre by taking in at least one show. Though festival attendance numbers have been good (with the street performers, craft and food vendors, and vibrant atmosphere attracting crowds), our ticket sales have levelled off and seemingly reached a plateau at around 77,000. The Winnipeg Fringe, which has always been second to ours, just broke the North American Fringe ticket record this year, selling 81,565 tickets.

So for those new to the Fringe – I encourage you to explore the shows on the website (a program is handy, but I understand paying $6 for the guide isn’t economical for those seeing just one or two plays). A few to watch for:

Of course, the fun of the Fringe is to pick based on instinct. Recommendations are a place to start, but taking a chance on something different is what the Fringe is all about.

And on a side note, The Bone House – where my love of theatre began –  is returning to an Edmonton stage in the fall – it will run at the TransAlta Arts Barns October 22 – November 8, 2009.

See you at the Fringe!

The 28th Edmonton International Fringe Festival runs August 13 – 23.

Teatro La Quindicina: “Mother of the Year”

After the disappointing Teatro La Quindicina season debut of Connie in Egypt, Mack and I were looking to the mid-season romp Mother of the Year to help redeem our hope for the season. It did, somewhat.

Mother of the Year is a companion piece to one of the shows playing at the Free Will Shakespeare Festival, Titus Andronicus (a nod to the current economy, ticket holders gain a $10 discount to Titus). From the website:

“Set in Edmonton during the 1980’s, Mother of the Year unfurls the dramatically hilarious saga of a pair of rival meat packing companies and the families who run them. It’s a fast-paced, shockingly Shakespearean display of simmering resentments, disastrous marital alliances, quiet double-crosses, and bold betrayals, all played out in a world strongly reminiscent of such classic Reagan Era prime time soap operas as Dynasty, Dallas, and Knot’s Landing.”

I was a little afraid all of the 80s references would turn us off (in the same vein as Cocktails at Pam’s), but thankfully, they weren’t overdone. There were just a few references to neighbourhoods that had the over-40 set laughing.

As a whole, notwithstanding the outlandish personalities and ridiculous plot twists, Mother of the Year was fairly enjoyable. The Lemoine-ian quips were out in full force, and the Teatro regulars spun them into gold. In particular, I enjoyed Sheri Somerville as the satisfyingly blunt escort Mrs. Jones, and Davina Stewart as the dutiful Persis Renshaw (what a name!). At the same time, although I know the second half was meant to satirize the inane plot twists inherent in soaps, the rapid-fire way in which they came made it seem like Lemoine just didn’t care anymore – a contrast to his usual whimsical, but clever endings.

Mother of the Year runs until July 25 at the Varscona Theatre.

Roxy Theatre: “Hey Ladies!”

We had been meaning to go to Hey Ladies! at the Roxy Theatre for some time, particularly because two of our favourite local actresses, Davina Stewart and Leona Braunsen, were involved, but it wasn’t until late May that we managed to make it to a show.

I wasn’t sure what to expect, except that my standard for such variety/talk shows has been set by the high energy, off-the-cuff hilarity of Oh Susannah. Hey Ladies was billed as:

“your favourite daytime lifestyle show meets your favourite night time comedy jam. The final show of the season promises to be a unique evening filled with comedy, music, fashion, make-overs, ridiculousness, chit-chat, prizes, information, opinions,  possible law-suits, special guests, audience sauciness, experts, rejects, lovers, losers and much, much more.”

Though the theatre was pretty full that night, it wasn’t quite sold out. Mack was a bit uncertain about the show, as he could count the number of men in the audience on two hands.

At curtain, the ladies came out (introduced by a young Education grad named Noel, whose presence could be compared to Ellen Degeneres’ DJ sidekick), and though Stewart and Cathleen Rootsaert were present, Jana O’Connor was standing in for Braunsen, who was currently starring in a play at the Varscona. We weren’t sure how O’Connor would fare, being young and new to the ensemble, but she found her feet quickly, and supplied some of the best zingers and one-timers of the night.

Over the course of the night, several local guests were interviewed, in addition to a game and vegetarian burger taste-off. Guests included:

  • Michael Berard, a local hairstylist, who was asked about the timely subject of highlights;
  • a representative from Wine Runners, who discussed a cheeky line of California wines called Mad Housewife (available at the Sherbrooke Liquor Store);
  • a representative from Ambers Brewing Company, who introduced a coffee-rum liqueur to the audience;
  • Rick Krupa from Flirt Cupcakes; and
  • Sugar Swing, who performed two upbeat and catchy dances and talked about their lessons and weekly dances.

It really was “infotainment” (a word that was up on the marquee to describe the show), and is a perfect venue for those seeking to learn more about events and new trends happening in Edmonton. Best of all, from the liquor and food representatives came free samples – at intermission, the audience was treated to wine and liqueur samples, as well as a free mini cupcake!

The sauciness of the humour surprised me (Rootsaert’s “halter” was a running joke of the night), but really, given that there were Hey Ladies-wrapped pantyliners in the women’s washroom, I should have expected anything. By 10:30, when the show wrapped, Mack and I both had no idea that so much time had gone by – it was definitely an enjoyable way to spend a Friday night.

Stewart announced that Hey Ladies will continue next season, but details have yet to be determined. Do look for it in the fall – I know Mack and I will!

Catalyst Theatre: “Nevermore: The Imaginary Life & Mysterious Death of Edgar Allan Poe”

Mack and I went to see Catalyst Theatre’s Nevermore on Saturday afternoon, one of the most hotly anticipated shows of the season. Jonathan Christenson and Bretta Gerecke, the Sterling Award-winning creators of Frankenstein collaborated again, this time on a tale about the life of writer Edgar Allan Poe. From the website:

“Nevermore is a playful and inventive 21st Century exploration of the mind and life of a 19th Century artist whose tormented life and dark imagination inspired him to create characters and stories that have taken on an almost mythical stature in contemporary culture.”

In a word – it was captivating. Nevermore enthralled in the same way Frankenstein did – everything from the lighting design and musical direction to costumes and dialogue were seamlessly integrated together, where each element was inseparable from the rest.

Playing on variants of black, Gerecke’s costumes (several made from paper mache), coupled with gothic makeup, were both playful and dark. Every prop, including the delicate paper tea cups and creaky pop-up books, helped create a dreamlike world around Edgar where it was easy for the audience to see where his conscious world blended with his nightmares. The use of shadow and the semi-transparent screens for narrative scenes and chorus support were brilliant, and demonstrated Christenson’s adeptness in visual storytelling.

All of the actors (except Scott Shpeley who played Edgar) were required to perform multiple roles, each needing to be distinct in voice, stature and movement. I found no weak link in the cast, as all were skilled at the crisp scene changes. Two members did stand out for me – Vanessa Sabourin was particularly haunting as Edgar’s fleeting mother, and Beth Graham’s comic relief as “wee Rosalie” was always a welcome presence.

Nevermore runs until May 17, but has added an additional two shows on May 22 & 23. Go see it! You won’t be disappointed.

Citadel Theatre: “Extinction Song”

When I heard last year that Ron Pederson would be gracing the Citadel Theatre stage in the spring, that was all the information I needed to buy tickets to Extinction Song, the final play in the Rice Season Series. One of my Teatro la Quindicina favourites (even though he doesn’t reside in Edmonton any longer, and hasn’t for quite some time), I was interested in seeing Pederson in a very different role. He didn’t disappoint. From the website:

“Meet James. Seven years old, he has escaped to a fantasy world where he is being raised by wolves. Every day is a new adventure until, frightened they are on the verge of becoming extinct, James and the wolves concoct a plan to save themselves. Extinction Song is a funny, tender and heartbreaking account of a child’s way of coping with the troubled world around him.”

I was totally taken into James’ world – at times terrifying, at times mystical. I was especially captivated at the point in the play when the character sees himself soaring through the air with his wolf pack, and with the help of lighting and sound, was able to imagine his flight and freedom. That moment was so pure that I desperately hoped, alongside James, that the magical innocence of childhood could be real.

I typically do not enjoy one-man shows (particularly when they lean towards drama and not comedy), but this was a well-paced production, with a fine balance between the lighthearted and more serious moments (James had literal names for many things, such as the “ding-dong-Avon-calling-lady”). Pederson had excellent timing, a dead-on stern tone for the father, and maintained a near frenetic energy throughout the ninety minute play without intermission.

The set was notable as well – the bedroom – from the furniture to the door frame – was set to scale to allow the audience to see Pederson as a small boy. The overhanging tree branches that lined his bedroom walls were an ethereal touch.

Extinction Song runs until April 19. See it while you can.

2009 Mayor’s Celebration of the Arts

Last night, Mack and I attended the Mayor’s Celebration of the Arts for the second year in a row. This time we were lucky enough to snag two tickets (thanks to Bryan Cox of Molson, one of the evening’s sponsors) to the swanky pre-reception held on the second floor of the Citadel’s Tucker Amphitheatre.

Lovely waterfall

I loved the setting – still early enough to catch the late afternoon sun filtering through the greenhouse windows, surrounded by greenery, and accented by a lovely water feature, both of us had never known that this oasis existed (it’s the closest thing we have to Calgary’s Devonian Gardens). We were probably slightly underdressed (the number of suits and 3-inch heels were blinding), but we had a good time spotting local “celebrities” (City Councilors, MLAs, members of the arts community) and noshing on the Northlands-catered food.

Kabob, naan and fish (the kabobs were surprisingly tender)

Lettuce and fruit wrap (lovely idea, tied with a chive shard, but the fruit was non-existent)

Popcorn gnocchi with smoked salt (deep-fried, but you wouldn’t know it – a bit disappointing)

Watermelon sorbet and Espresso Cups (the latter was my favorite dish of the event – the crisp lemon mousse was a sweet finish)

We were also treated to a lively African drumming performance, and I had to wonder why the concrete stage (albeit small) isn’t utilized for more performances on a regular basis. I’m sure a Fringe-like show could easily make the most of the light and fantastic backdrop for a memorable production.

 

African drumming (I didn’t catch the name of the group, unfortunately)

Just before 7pm, we crossed the street over to the Winspear Centre for the show. Hosted again by CBC’s Peter Brown and CTV’s Carrie Doll, they were just as charming as last year, and I can share that Mack reacted with glee to Doll’s onstage Twitter reference.

I really appreciated the range of performances we were treated to, including the witty and entertaining blend of spoken words and music by The Raving Poets, the hilariously talented “ukulele cover band” known as The Be Arthurs, and a clever and spirited scene from Nathan Cuckow and Chris Craddock’s gay rap opera, Bash’d. I felt fortunate to be privy to some of the best Edmonton’s arts community has to offer, all in one evening. Of course, there were a few less interesting performances – the penguin-inspired number by the KO Dance Project went about five minutes too long – and no single entertainer captured my imagination quite like Samantha Schultz did last year. Also, though the closing Latin band Bomba! eventually did get people dancing up on stage (a Celebration of the Arts tradition), it was touch and go for a bit until the lead singer took it upon himself to teach some basic steps. Still, it was a great show overall.

Show-ending dancing on stage

Though the celebration had award presentations sprinkled throughout, they seemed secondary to the performances and almost like a necessary evil. I was happy to see that Tim Ryan (the man behind the musicals at Grant MacEwan) was recognized with an Outstanding Lifetime Achievement prize.

For just $25 each (with all proceeds going to the Edmonton Mennonite Centre for Newcomers and the African Centre this year), the Celebration was a great opportunity to watch up-and-coming performers and help recognize some of the stellar contributions made by members of the local arts community.

You can read Mack’s post about the event here, and see the photoset here.

MacEwan Theatre Arts: “The Addelpated Nixie”

I had been looking forward to Stewart Lemoine’s The Addelpated Nixie for some time. A collaboration with MacEwan’s Theatre Arts Program, it was the first Lemoine-penned show I’d seen since Happy Toes at the Fringe last summer – I was ready to soak up some quirky, nonsensical fun.

The crux of The Addelpated Nixie is just that – a confused water-elf who has found herself on a 1950s college campus and is wreaking havoc in an effort to stay alive. This was entertaining enough and the high-pitched squeal of Mnimninmni (Ashley Plomp) garnered many laughs. The rest of the play – with subplots ranging from the coeds staging a show to helping a Soviet ballet dancer defect – was superfluous. It felt like the playwright had created roles to fill a quota of twenty, a cast inordinately large even for a Lemoine production. The show-ending non-romance between Irene and Press was also unnecessary, as their semblance of a relationship seemed forced, without chemistry between them to justify even flirtation.

There were a number of bright spots in the play, however, including the sparkling lead actress Robyn Wallis as Irene, who asserted herself just as she should have with spunk and sass. I appreciated Michael Davidson’s comic timing, in the role of the wandering groundsman, and Eric Wigston’s obvious potential as a leading man.

If anything, The Addelpated Nixie has renewed my excitement for the upcoming Teatro la Quindicina season, which starts at the end of April. For the first time, Mack and I are subscribers – I figured if there was a good time to support a small theatre company, that time is now. If you’re looking for a preview of their season, look no further than April 4, when Teatro will be revealing their season with snippets and interviews. Tickets are $20, $15 for subscribers. See you at the Varscona!

Studio Theatre: “Without You”

May and I met up on a chilly Tuesday to watch Without You at the Timms Centre, the latest Studio Theatre production. From the website:

“Without You is a witty and charming, contemporary search for The One – a search we all can recognize. Gabriella and Scott are in love…they’re pretty sure anyway. She’s a musician pursuing a dream; he’s an academic in pursuit of a career. The wedding is in six months. Somewhere between chicken or beef, colour schemes and groomsmen, Scott develops a secret and Gabby makes plans to leave. While he is holding on with everything he has, she is letting go.”

This play hinges on two things – the audience’s belief in “The One” (or True Love), and the likability of the characters (tied closely with how well the audience can relate to them). For the most part, I didn’t buy the True Love premise of Gabriella’s ball-rolling psychic reading, and worse, I couldn’t stand Gabriella’s character. Throughout most of the play, I found myself rooting against her, and wondering why Scott stayed with her at all – for someone as fiery as she was supposed to be, she lacked a core sense of self (which, I suppose is what the second half dealt with).

Due to the frustration I felt on Scott’s behalf, my favourite part of the play was the climactic, relationship-ending fight. It was satisfying, and in my eyes, something Gabriella entirely deserved. Both actors (Samantha Duff and Matthew McKinney) held their own in that scene, and Duff even redeemed herself from some more uneven work earlier in the production. I will also give Duff credit for a solo acoustic performance where it seemed she was pushing her artistic boundaries.

Though I was expecting more from the script, playwright Nicole Moeller did do a great job utilizing her supporting characters for comedic relief. So much so that chameleons Blythe Haynes and Vincent Forcier stole the show.

I also loved the simple set – I’m a sucker for versatile/multi-function ottomans – but the window-panelled centrepiece, which extended the horizontal length of the stage, was a beautiful, visual reminder of the limitlessness of young life.

Without You runs until December 6.