Tag: theatre reviews

New Works Festival 2007

After dinner, Dickson and I headed to the Second Playing Space in the Timms Centre for the New Works Festival, an event that features various student-created productions.

The first show we watched, Flap, tells the story of a young couple who unite over their quest to save a dying bird. Dickson sarcastically commented afterwards that he was “fascinated,” and I’d have to agree with that description for the most part. It was a linguistically-weak play, almost too colloquial, and phrases meant to be “cute” came off as tired (e.g. the “Good Grief”/Charlie Brown connection). Moreover, the pacing was uneven, and without proper transitions between the scenes (via dialogue or physical space), the blocking appeared rough and counterproductive. Most egregious, however, was the overly transparent theme. The ‘caged animal’ repetition was tiresome, and seemed in many respects like a writer’s exercise in moving from a literal wing flap to a verbal tussle to the female lead’s relationship-ending flight for freedom. In all, it was a decidedly amateur production.

The second show of the night was light years ahead by comparison. Employing a Greek chorus, cheeky musical interludes, and two charismatic leads, Skewed Logic presents the story of Stu, womanizer extraordinaire. Like The Game meets Euripides, this was a wonderful experiment in theatre. Beginning with Stu’s delineation of the “5 types of girls” (if you were wondering, they are: cute, hot, cool, attractive, and beautiful, with a “secret sixth untouchable” category), the show started off light, fun, and relatable to the mainly 20-something audience. From there, the plot escalated in intensity, and by the end, resulted in Stu’s tragic death at the hands of his best friend. Unexpected but thought provoking, it was an undoubtedly whirlwind play. I was thoroughly impressed by the director’s use of space, as she fully exploited the thrust stage and all potential entrance and exit points to her advantage. That said, there was one part of the play that Dickson enjoyed, but made me rather uncomfortable – Stu and his psycho ex-girlfriend’s simulated sex scene, complete with both actors in their underwear. While I can understand the need for the audience to appreciate the level of betrayal Stu was capable of, I still believe it was gratuitous and unnecessary. But despite that blemish, I was still floored by the complexity and creativity of Skewed Logic. The playwright, Vincent Forcier, has a bright future ahead of him!

With Festival passes going for just $5, it’s an inexpensive opportunity to support young artists and be entertained – I encourage you to check it out!

Theatre: “Crazy for You”

After dinner, Dickson and I went to the opening night performance of Crazy for You, the second production of the year for Grant MacEwan’s Theatre Arts Program. From the website:

“an artfully constructed show-biz tale of boy meets girl, but rather than Times Square they’re in the Wild West, where they spread good will, good tunes and, of course, good lovin’. It’s a high energy comedy that includes mistaken identity, plot twists, fabulous dance numbers and classic Gershwin music.”

As custom, the house was nearly full, packed undoubtedly with family and friends of the cast members. John L. Haar Theatre really is a beautiful facility, fully equipped with wide aisles, a gorgeous stage, and orchestra pit. It’s too bad it’s out of the way, and not in proximity to any large attractions, as their programming should be seen by a wider audience.

For a student production, it was quite well done. The costumes were great, as were the set pieces (in particular, the clown car was well built, leading to an unexpected routine that provided a good display of stage magic). My favorite character was hands down Irene Roth, the soon-to-be wife of the Saloon owner in Deadrock. She was played with great sass by Ashley Bjorndal, and carried off some great verbal exchanges with Bobby Child’s mother and her future husband.

I thought the first half as a whole was better than the second half, both in pacing and songs presented. Furthermore, the dancing was stronger than the singing in this show – the male lead had a fairly weak voice (Dickson said the actor who played Bela Zangler had the better voice, and here, I’ll defer to his trained ear). I was also surprised at the lack of a show stopping end number. “I Got Rhythm,” clearly the most catchy song, and the only one in length that featured the entire cast, fell just before intermission, leaving the audience vainly wanting more.

I was also surprised at their decision to use a projected backdrop to convey the different scene locations. Because of their elaborate sets, I thought this was unnecessary and rather distracting. Specifically, the image of the Gaity Theatre seats could be considered inaccurate, as usual musical-within-a-musical productions see the rehearsals conducted facing the imaginary audience, not upstage.

Despite my nitpicks, it was a fun production overall, and one that left me with a desire to dance!

Theatre: “Dinner with Friends”

Having read about Dinner with Friends in Avenue Magazine a few weeks ago, I had wanted then to see it for Davina Stewart alone. But the plot and its Pulitzer-prize winning pedigree aren’t too shabby either. From the Roxy Theatre website:

“Two married couples have been best friends for years, but when one couple announces they’re splitting up, the rug is pulled out from underneath their comfortable foursome.”

Mack’s one word reaction to this play (as ‘overheard in the theatre’) was “heavy.” From Beth and Tom’s exhausting bedroom brawl, Tom’s painful description of a disintegrating marriage, to Karen and Gabe’s realization of their own fears and insecurities, all of the scenes resonated with an uncomfortable realism and a naked truth. I found the last act, with separate scenes between the two women and men the most poignant. The friends weren’t able to relate to each other anymore; they had lost the common ground they had built their adult lives on.

The cast was positively superb. Though my initial thought was that Dana Andersen was the weakest link (due to his lack of intensity compared with the other three), I do now agree with Mack’s opinion that Andersen played exactly the type of character asked for – unassuming and laid back. While the actors did a great job, I think the play would have worked better if all four cast members looked about the same age. Otherwise, as was the case here, it seemed like the more mature Karen and Gabe trumped the younger, more naive couple.

The production made great use of portable kitchen sets, complete with edible lemon almond polenta cake (a recipe of which is included in the program)! I also liked the curtains of circular chains positioned above the stage – great visual of the connectedness of both couples, the ‘natural’ cycle of marriage (as referred to by Gabe: newlyweds, mortgage, children, menopause), and of course, marriage rings (noticeably worn only by Karen and Gabe). There was also an interesting use of offstage presence – the kids and both of Tom and Beth’s new partners are never seen, only heard and discussed – emphasizing both the “he said, she said” conundrum and highlighting the forced reliance on experience relayed through words.

Overall, it was a very personal and relatable play, and truly, “you never know what couples are like when they’re alone; you never do.”

Theatre: “Oh Susanna!” Christmas Special

On Saturday night, Mack and I watched the Oh Susanna Christmas Special at the Varscona Theatre. I had been looking forward to this since Eros and the Itchy Ant in November, so I’m glad I was actually able to make it. From the website:

“Oh Susanna! is Edmonton’s own Euro-style variety show, playing monthly since 1999 in Strathcona’s improv comedy hot-spot, The Varscona Theatre. Antics, music and spectacle abound, guided by international glamour-gal Susanna Patchouli (Mark Meer) and her co-host Eros, God of Love (Jeff Haslam). Watch as celebrity guests engage in sparkling conversation and high-spirited competition! Delight in the shenanigans of the Compania del Mambo! Thrill to the tunes of the Oh Susanna Jug Band! All this…and cocktails!”

I thoroughly enjoyed the show – it was an evening filled with lighthearted fun and laughs (Susanna came out in a forest green velvet mini-dress, announcing that she was, “A Christmas elf…who also happens to be a prostitute”). Meer and Haslam were fantastic as their alter-egos; both were quick witted and had phenomenal ad-libbing ability.

Susanna and Eros were accompanied by a large supporting cast, and in my opinion, they represented Edmonton’s “Theatre All-Stars.” There were appearances by Davina Stewart, Sheri Somerville, Jocelyn Ahlf, Andrew MacDonald-Smith, Celina Stachow (visiting from L.A.), Farren Timoteo, Dana Andersen, and my personal stage favorite, Andrea House. The who’s who in attendance extended off-stage as well, as I saw Stewart Lemoine flitting about the theatre, and even now Vancouver-based Chris Fassbender in the crowd.

I definitely felt like I received my money’s worth, as the show included many entertaining segments:

  • Cooking with “Girls on the Grill,” where every member of the audience received a sample of turkey buttie, essentially the sandwich equivalent of a full turkey dinner: roast turkey, mashed potatoes, gravy and cheese, all contained within the confines of grilled bread (at intermission, there were glasses of “one arm punch” and eggnog available to drink as well).
  • The talk show element that discussed current events, after which I could not get the image of premier-elect Ed Stelmach-as-Muppet out of my head.
  • Several musical performances, including a beautiful rendition of “First Noel” by House, and a hilarious Wham! tribute of “Last Christmas.”
  • A cute Stewart Lemoine playlet, Christmas in Patagonia, featuring Timoteo, brilliantly cast as “Toddler Jesus.”
  • An interview with two Edmonton expats now living in Toronto, back to reprise familiar roles in A Christmas Carol at the Citadel. One of these men, Larry Yachimec, happens to be the star of the Westjet commercial as the clueless patron who required channel guidance from an observant stewardess (he did the laugh!). Obscure fact: the commercial was filmed in an airport hangar in Hamilton, Ontario.

My only negative comment was in regards to the burlesque performance, which seemed tacked on and out of place (I was even more horrified when I found out there were young children in the crowd…). And though I was disappointed with the lack of “The Game! The Game!”, it provided me with an excuse to return in the new year.

There were many in-jokes for those in-the-know audience members (like the line spoken in raucous unison, “I don’t want to go to jail looking like this!”), as well as numerous self-plugs for projects cast members were involved in. This I didn’t mind, as part of the point of this production was to shamelessly lend support to other artistic endeavors in the community.

I can’t remember the last time I had so much fun at a show. Though Oh Susannah! has been on for seven years, I still feel like I stumbled on one of the city’s best kept secrets.

Theatre: “Eros and the Itchy Ant”

This afternoon, a friend and I headed to Varscona Theatre (10329-83 Avenue) to watch Teatro La Quindicina‘s season opener, titled Eros and the Itchy Ant. From the flyer:

“Music and mythology converge to make magic in this unstoppably hilarious romp, set in that most unexpected of Teatro setting – present day Canada. A piano teacher and a baker explore the possibilities of mutual attraction with a little intervention from a tart-tongued mezzo-soprano and an affable contemporary incarnation of the Greek god of Amor.”

First thing – I think Stewart Lemoine productions are meant to be enjoyed in a packed house: it’s an unspoken rule that the communal experience on a grander scale somehow make the laughs funnier. Unfortunately, this matinee performance was only about half full.

It’s hard not to judge Lemoine by comparison, because I know what he is capable of (Shocker’s Delight! has become my standard of which community theatre is measured by), so I found the plot of Eros to be sorely lacking. Unlike most of his other romantic comedies, the only obstacle to the would-be couple was themselves. Nothing is more frustrating than having to watch characters get over their assumptions for the inevitable pairing to occur. Moreover, I have never been a big fan of musicals in any incarnation, and though I enjoyed hearing “The Itchy Ant” piano piece and watching the manic comedy of the Psyche opera scene unfold, I think the musical interjections disrupted the flow of the play as a whole.

Jesse Gervais, who played the hapless male lead Franklin, was the only cast member not in the 2002 premiere. Although John Kirkpatrick was the original Franklin, I still couldn’t help but think what Ron Pederson would have done with the role. Nothing against Gervais’ performance, but Pederson’s brand of awkward grace would have better suited the rhythm and chemistry of the group.

As typical in Lemoine productions, the supporting characters stole the show. Wanda, friend and coworker to the female lead, was the perfect blend of supportive associate and blunt observer, played to a T by the stately Sheri Somerville. And Jeff Haslam, always a welcome presence, brought his boisterous energy to the title role of Eros, immediately putting the audience at ease. I don’t think I can wait eight months to see him again on the Varscona stage, so I am planning to catch a performance of the Euro-style variety show, Oh Susannah! sometime soon.

Despite the overall disappointment of Eros, I will be back in February for the next Teatro play. Lemoine has done much to earn my respect for his work, and I believe it’s a compliment, ultimately, for the expectations to be so high. He’ll have two more opportunities to clear the bar this year.

Theatre: “Lost in Traffic”

Following dinner, we headed to the Myer Horowitz Theatre at the University of Alberta (8900 114 Street) to watch Quebec-based Theatre Parminou‘s production of Lost in Traffic. The purpose of this interactive, social activist play was to: “increase public awareness of the traffic of women and children.”

Four very versatile actors and one “game leader” presented various scenarios involving the trafficking of women, including: a sly American attempting to convince a young girl to leave her home to become an international model; a lonely man about to head abroad to marry essentially a mail-order bride; and a matriarch defending her decision to isolate and contain her foreign-born housekeeper for decades. In between anecdotes, the game leader would step on stage, either to provide more information, or in some cases, stopping the action altogether during the scenes themselves in order to poll the audience for possible interventions to prevent the trafficking from occurring.

I really liked the set design that involved five wooden trunks used as props throughout the show. They visually represented the theme of displacement, and can even be seen as a metaphysical reference to the theatre group’s own nomadic travels as they bring the show to campuses across the country. I also found the play to be appropriately educational, such as the 2004 change to the exotic dancer immigration clause.

The game leader was an interesting concept, and although I realize the rationale for the role was to encourage audience investment by allowing for the illusion of influence and control, a more effective means to this end would have been a complete storyline where the audience could build empathy through more natural processes.

Moreover, it seemed to me that the scenarios boiled the subject of trafficking down to stereotypical character profiles on both sides – the innocent-girl-turned-prostitute, the housemaid who cannot speak the language, and the stubborn Canadians who refuse to believe that the problem exists on North American soil. Of course, my own knowledge is limited, so who am I to say that such common beliefs don’t actually reflect realities? Still, at times, the production felt like a play written to fulfill the requirements of a class project.

In the end, I was expecting suggestions or ideas on how we, the public, could help with the prevention of human trafficking. Unfortunately, the bottom line provided was just to ‘spread the word’ and to advocate on behalf of those without voices. Yes, it’s now left in the hands of the audience, but I would have appreciated something more concrete than “speak.”

Theatre: “Urban Tales”

On Friday night, I went with a friend to watch Northern Light Theatre’s Urban Tales 9: Night Nurses in an Insane Asylum at the Third Space. Four separate playwrights wrote anecdotes for each of the four characters, which were then edited together to form one coherent play. From the program:

“On a dark and stormy Halloween night, an electrical storm unleashes the inmates, and perhaps a few ghosts, to terrorize Dorothy, Midge, Betty Ann and Vivian.”

This was my first Urban Tales experience, so unfortunately I don’t have any past productions to compare this one to, but what I did not expect was a glorified reading. Yes, there were costumed actresses, sound and music effects, and lighting design, but the actors for the most part read from the script! Each actor even had their own music stand, which made for quite the awkward commute between the very-small stage and an additional stand set up just in front of the stage to showcase the individual monologues.

That said, Annette Christie, who played Dorothy, was by far the standout for me, as she had to voice her lines entirely in the stereotypically “giggly girl” nasal, and provided many comedic moments with her doe-eyed delivery. There was also some interesting work with a projector that flashed a variety of images onto a makeshift curtain screen just to the right of the stage. An image of a catatonic patient with vacant eyes was particularly spooky, and did much to set the mood for that scene. In addition, the sound technician has to be singled out – the necessary timing involved with inserting a *lightning flash* here, and a *creepy howl* there seemed more taxing than in other productions I’ve seen. In all, although I jumped a few times, and my imagination was exercised, Urban Tales 9 pales in comparison with Marty Chan’s The Bone House, my benchmark for chilling theatre.

Theatre: “10 Days on Earth”

Ronnie Burkett is a theatrical genius.

I first heard of him when he premiered Provenance in Edmonton a few years ago, but didn’t get out to see it because of the “hefty” $30 price of admission. Little did I know his talent, as showcased in a 120 minute production, is priceless.

Last night, a coworker and I watched a play titled 10 Days on Earth at the Roxy Theatre, acted entirely with marionettes. The flyer describes the show as follows:

“Darrel, a mentally challenged adult, doesn’t realize his mother has died in her sleep. For ten days straight he unknowingly lives alone, continuing his simple daily routine and daydreaming about his favorite storybook characters.”

Like most synopses of great art, words alone cannot do Burkett justice. At first, I had to adjust to the experience of watching puppets move about in place of live actors. But soon enough, I realized how imagination bridges the gap between you and the stage; you end up relating and empathizing even further with the marionettes because to believe the life being created out of wood and string, you have to invest a part of yourself that isn’t necessarily required with human performers. My heart broke as Darrel called in vain for his mum; as he peered expectantly at her still-shut door; as he sat, ever-patient, in the hallway, and waited. And because the faces of the puppets are unchanging, it was fascinating to notice the vital importance of body language. Every flicker, twitch, and jerk became a telling sign, a character trait. The marionettes are “simply, simply” mesmerizing.

You have to wonder how Burkett manages to perform this show night after night – it was exhausting just watching him maneuver over the numerous platforms, personally handling all two dozen puppets, and voicing all of the different characters, some that I was sure would lead to laryngitis. In any case, his sweat and tears made last night’s show unforgettable. I am already looking forward to his next stop in Edmonton. I encourage you to check out 10 Days; it runs until November 26.