Tag: Varscona Theatre

Teatro la Quindicina: “It’s a Wonderful Life”

Mack and I watched Teatro la Quindicina’s live radio version of It’s a Wonderful Life this afternoon at the Varscona. I wasn’t sure what to expect, but guessed that it would be a sort of hybrid of the stage reading style of Urban Tales and David Belke’s radio serial at the Fringe I saw a few years ago.

Lucky for us, it was even better than Belke’s radio serial, with the 50s-style costumes worn by the actors setting the tone immediately. The light-up on the air/applause sign for radio WTLQ and retro microphones were also a nice touch.

The talented cast, which included our favourites Jeff Haslam (as George Bailey) and Davina Stewart (as Mary Bailey) transported us to Bedford Falls, a community-minded town peppered with characters. The story, a familiar tale of finding what’s most important in life – family, friends and integrity – is always a comfort at Christmastime, a good reminder to be thankful and appreciate life as it is.

The music and sound effects helped enhance the experience, pushing our mind’s eye to picture everything from the Baileys’ residence to the fateful bridge where George contemplates ending his life. Cathy Derkach provided a wonderful musical soundtrack throughout, and Kendra Connor’s work as the foley artist was great, as she had to balance a table bursting with sound props (the use of a box of corn starch to mimic steps in the snow was ingenious).

The show even included two “commercial breaks” with cheeky advertisements of Teatro’s 2010 season and Irmengarde’s New Years’s Wrap Up on December 31. Mack especially liked the Teatro jingle.

All and all, it was a great matinee to be a part of. Unfortunately, It’s a Wonderful Life had a limited engagement of three shows, with the last one finishing up on stage as I write this. To tide you over until next year though, check out this hilarious clip of It’s a Wonderful Life in 30 seconds (and re-enacted by bunnies).

Theatre: “Oh Susannah” Halloween Special

After reading an amusing interview with Susannah Patchouli in See Magazine, I made an impromptu decision to attend this year’s Halloween edition of Oh Susannah, Edmonton’s only Euro-style variety show featuring the effervescent Patchouli (played by the hilarious Mark Meer).

Mark Meer as Susannah Patchouli (photo taken from the See Magazine article)

The show was to start at 11pm, with tickets on sale a half hour before that, so we figured arriving at 10:15pm would be fairly safe. Though we weren’t disappointed, we weren’t expecting such a crowd, with a line that looped claustrophobically through the tiny Varscona lobby (all the way down the hallway to the bathrooms). The staff were thoroughly accommodating through, and not only started selling tickets ahead of schedule, but also opened the house doors earlier than anticipated.

We settled in amongst the packed house, and Susannah, dressed in a witches hat and a “revealing” costume, appeared at show time and welcomed us. Two things amazed me, as they did the first time I watched Oh Susannah: that the Varscona stage can accommodate as many bodies as it does; and how Meer can complete the entire show with a straight face.

The Girls of the Grill were back (this time with an “I ‘otta choke you” sandwich made with artichoke spread), as were the Ladies of the Bar (who passed around “Skelletini” cocktails). Local celebrities were also interviewed, including Colin Oberst (the composer behind the new Hockey Night in Canada theme song) and Ronnie Burkett, who just premiered his newest production, Billy Twinkle, at the Citadel Theatre. This episode of Oh Susannah also featured The Game! The Game!, a regular highlight that was missing from the Christmas special I watched last year. I really extend credit to whomever designed the activities – they were immensely entertaining. From the borderline dirty trivia in round one, the challenge to craft a sculpture from pumpkin puree (resulting in, of course, one penis-shaped design) in round two and lastly, a winner-takes all round that had contestants toilet papering the audience…then having to re-roll the used tissue. Patricia Zentilli (currently performing as Audrey in the Mayfield Dinner Theatre’s Little Shop of Horrors) and Tracey Power (Living Shadows: A Story of Mary Pickford) were great sports.

The audience, as per last time, also helped make it a good time. They were expecting the various parts of the show, including the loud repetition of the phrase, “I don’t want to go to jail looking like this.” Many also dressed up in their finest Halloween garb to compete for “frugal but fabulous” prizes. My favourite costume went to the self-described “Discovery Channel Slow Zebra” – a zebra with a lion attached on its neck – too clever.

For the variety and laugh ratio we received, it was well worth our $10 ticket. The next show runs on November 29 at 11pm – go early!

Teatro la Quindicina: “A Rocky Night for His Nibs”

It was an absolutely packed house on Tuesday, only fitting for the large cast of A Rocky Night for His Nibs. From Teatro la Quindicina’s website:

“Perched by a glacial lake and presided over by the stately Prince of Wales Hotel, there’s no quieter or more pristine North American destination than the gentle town of Waterton. At least that’s how it usually is, but then there was that one time when everyone showed up. Everyone. At once.”

I have no doubt that Nibs is destined to become a classic in the vein of Cocktails at Pam’s. A mix of interesting personas, a case of (self)mistaken identity (amnesia could be a category for a Lemoine drinking game), and a mysterious yet familiar setting equal an almost no-fail Lemoinian forumula for entertaining hijinx. I found the exchanges particularly witty, and as a whole, a play much better than the season debut, Revenge of the South Sea Bubble. While the deux ex machine ending was too easy, I can’t say I didn’t enjoy myself in spite of the million-dollar cop-out.

All of the actors looked like they were having a great time, many cast in roles seemingly written just for them: Farren Timoteo as a height-challenged, giddy wanderer; Sheri Somerville as a striking woman on the run with a musical talent; and Andrew MacDonald-Smith as an awkwardly-gangly Hutterite with a naïve disposition. I particularly enjoyed Mark Meer as an unassuming everyman (a departure from his usual accented-antics), the Hutterite exes (Shannon Blanchet was the female half), and Mat Busby’s smooth turn as the hotelier’s right hand man.

If anything, A Rocky Night for His Nibs has made me more excited for the upcoming Fringe. Watch for Teatro’s (hopefully triumphant) return to the summer festival with the optimistically-titled Happy Toes, playing at the Varscona stage.

Theatre: Die-Nasty, Season 16

Die-Nasty has become an institution of sorts in Edmonton, and though I’ve always meant to give it a go (I came really close at last year’s Fringe), I just haven’t made it out. Part of the reason lies in a lukewarm experience I had watching one of the shows at the Improvaganza festival a few years ago – I came to the conclusion that unscripted comedy really wasn’t my thing. Well, Die-Nasty may have changed my mind.

Season 16 centered around a fictional 70s hockey team, the Edmonton Die-Hards, loosely based on the Oilers of the era. With outrageously-named characters, including Dr. Bueno Excellente (Mark Meer) to Captain Derrick Capilano (Jeff Haslam) and Coach Rollie Doobie (Dana Andersen), the cast really had fun creating their world. And upon hearing that Georges Laraque would be guest starring in the season finale, how could I pass it up?

It was a packed house, and a CTV cameraman even stayed to record the first half! I can tell you it was a bit surreal watching Laraque (fittingly #69, Wellen Dowed) alongside who I consider to be Edmonton’s theatre all stars – Meer, Haslam, Andersen, Sheri Somerville, Leona Brausen, Matt Alden, and of course, Ron Pederson (back in Edmonton for the summer!) up on stage. Two of my favorite things – hockey and theatre – came together for an evening.

As for the comedy itself – Andersen’s direction was spot on. The fact that this omniscient narrator was present to set up and subsequently end the scenes really allowed for some plot development, and unlike Improvaganza, wasn’t just a series of random exercises. He also ensured the audience got their money’s worth of Laraque – in the first act, he appeared in every other scene. As expected, most of the funny moments arose from ironic comments about his size, or more often than not, hyper-sexualized tension between him and whichever female cast member happened to be in his way (Laraque’s, “I couldn’t breathe!” after Brausen stuck his head between her breasts was priceless). Mack’s recap highlights some of the other memorable lines of the night, including Donovan Workun’s “I have a million dollar tool, that’s why I built the shed” response to a dig about his weight.

Though I may never understand why all of the women got to make out with Pederson, nor want to know what was actually in those bottles they were drinking out of, it was an entertaining evening all around. And really, any event that helps Mack get to the point where he can pick the theatre all stars out of a lineup is a worthwhile one in my books.

Theatre: “Dreamland Saturday Nights”

May and I then attended a matinee of David Belke’s remounted Dreamland Saturday Nights at the Varscona. From the website:

“When two lonely hearts meet at an old time repertory cinema, they discover that where one sees colour and romance in a search for love and adventure, the other analyses lighting, direction and camera angles. The play follows the growth of their relationship over a series of Saturday nights as they watch old movies together, eat popcorn and fall in love – with a little help from their friends, Bogart, Davis and Astaire.”

Just as nostalgic as the description portrays, the play was a classic Belke romantic comedy. I loved the use of old trailers and concession advertisements to set the tone as the audience seated themselves (though Shadow Theatre’s own trailers could have been better put together – I thought they were fake until I looked in the program). The set was as functional as it was pretty – the designer found great replicas of theatre seats and a concession stand to accompany the whimsical pastel colored swirl backdrop, evoking the desired feeling of innocence and push for simpler times. The stage also incorporated a clever sheer movie ‘screen,’ to distinguish between the film realm and reality.

Like most Belke plays, the supporting cast stole the show. Patrick Howarth, the only actor who appeared in the original, was fantastic. His impersonations were spot-on (and he can dance!), with his Jack Nicholson imitation garnering the most laughs. Aimee Beaudoin, playing the “wicked” gold digger, was so fabulous in her oozing indifference and cruelty that I was left wondering how it could have been possible that I’d never seen her before. In particular, her maturity as an actress shone through in her Bette Davis masquerade. Angela Christie was well-cast as Dorothy, the cute and shy female lead, but I’m still unsure about Chris Bullough. Although better this time around than in Teatro’s House of Cats earlier this season, he didn’t completely convince me that he was remotely torn about his decision of tearing down the Dreamland. The program didn’t list the original cast, but as Chris Fassbender was a Belke favorite while he was still in town, I couldn’t help but think Fassbender’s ability to juggle quirkiness with heartfelt sincerity would have better suited the role.

As a classic movie fan, I’m embarrassed to say I couldn’t recognize all of the allusions (the buck stopped with Citizen Kane and Empire Strikes Back for me), but I could relate to Dorothy’s sentiment of wanting to have a bit of both Oz and Kansas in her life. So despite its shortcomings, Dreamland Saturday Nights was an enjoyable piece of fantasy, comedy, and romance.