Alumnae Theatre’s Big Ideas 2013 coming May 8 – 12

Alumnae Theatre Company’s annual Big Ideas festival of works in progress – organized and programmed by the company’s New Play Development (NPD) group – is coming up, running May 8 – 12 up in the studio. Big Ideas features readings of full-length plays, as well as scenes from plays, and this year’s line-up includes:

I AM MARGUERITE by Shirley Barrie, directed by Molly Thom

FORGIVENESS by Mairy Beam, directed by Victoria Shepherd

YOU HAVE TO EARN IT by Ramona Baillie, directed by Jane Carnwath

IN A TIME OF WAR by Anne MacMillan, directed by Marianne Fedunkiw

BROCKFEST by Joan Burrows, directed by Maria Popoff

WAITING FOR KATRINA by Donna Langevin, directed by Pat McCarthy

THE YEAR MY FATHER BECAME A SAINT by Linda McCready, directed by Brenda Darling

Admission is free. For more info, including synopses, times and dates (each play gets one reading), please visit the Alumnae Theatre NPD page.

p.s. – I’ll be performing in the reading of Forgiveness on Thursday, May 9 at 8 p.m. Rehearsals start tonight, and I’m looking forward to working with director Victoria Shepherd again (we worked on Celebrity together in New Ideas 2004 – written by Tina McCulloch, who is also in the cast of Forgiveness), as well as a great cast, all of whom I know (and previously worked with all but one) – and all the women in this cast were also in Alumnae’s production of Lady Windermere’s Fan in 2007.

Great big hair-raising fun @ Alexander Showcase’s Young Frankenstein – The Musical

I had the great pleasure of seeing Alexander Showcase Theatre’s highly entertaining production of Mel Brooks’ and Thomas Meehan’s  Young Frankenstein – The Musical, playing now at the Al Green Theatre (Jewish Community Centre at Bloor/Spadina, Toronto) last night. The Alexander Showcase production was helmed by director Vincenzo Sestito and musical director/producer Gwyneth Sestito, with choreography by Jaime Robertson. Original direction and choreography was by Susan Stroman.

The stand-out cast did a splendid job with this zany horror story set to music. If you’re familiar with the movie, all your favourite characters and moments are there – this time, with music and song. And, yes, the Irving Berlin “Puttin’ on the Ritz” number is there, in all its song and dance glory, as is Elizabeth’s ecstatic “Ah, Sweet Mystery of Life” moment. And, boy, does this cast bring it with the song. Patrick Brown – mostly known for his handsome leading man roles – is outstanding as the nerdy and passionate scientist Frederick Frankenstein (that’s “Fronkensteen”), transitioning from a man intent on renouncing his family history to embracing his grandfather’s scientific legacy. Erin Hyde is hilariously flakey and glamourous as his self-involved fiancée Elizabeth Benning (and a great set of pipes too, especially on “Deep Love”), while Christine Lindo does a lovely turn as his smart girl meets blonde bombshell lab assistant Inga. Matthew McGrath is hysterically charming as the simple-minded but sweet Igor (that’s “Eye-gor”), and Andrea Brown gives a stand-out performance as the creepy and imperious Frau Blucher, who – in her sexy and sad tale “He Vas My Boyfriend” – we learn is full of longing and desire under that tough cookie exterior. And David McEachern gives us a fabulous monster – misunderstood, afraid and fumbling around the world he’s found himself in – like Blucher, a soft caramel centre under that hard shell. Other stand-outs include Seth Mukamal as the revenge-driven but somewhat inept Inspector Kemp, Bob Deutsch as the blind hermit, Ted Powers as  Frankenstein’s (deceased) grandfather Dr. Victor von Frankenstein, and Steve Kyriacopoulos (doing double duty as publicity guy) as Frankenstein’s neurology lab subject Mr. Hilltop. Nice work from the entire ensemble!

Set designer Peter Thorman did a terrific job, with moveable set modules shifting with the scenes – from the Transylvania town square, to a New York City college classroom to castle Frankenstein – with projection design by Dan Surman and lighting effects by Chris Humphrey adding to both the set and atmosphere. The most impressive set had to be the laboratory – with its giant electric switches, multi-coloured diodes, control wheels and wires, stone arch window projections on either side and flashes of lightning up centre. It was just as you’d pictured Frankenstein’s lab would be. Shouts to sound designer Angus Barlow; it was all I could do to not whinny along with the horses every time someone said “Frau Blucher”! Kudos to make-up/hair artist Rosalind McArthur, who did an amazing job with the look of the characters – especially Frankenstein’s Edward Scissorhands hair, and the make-up for the monster and Blucher.

Young Frankenstein – The Musical is most definitely some very big fun times. You still have a few more chances to catch it before the show closes on Sunday; please note the 7:30 p.m. curtain time for evening performances. Look out for Alexander Showcase Theatre’s next production this fall – Arthur Miller’s The Crucible – on the Alumnae Theatre main stage November 14-17 and 21-24.

 

Some wacky fun time theatre shouts

Hey kids! Busy times for this bloggergal last week, so happy to be slowing things down a bit this week. Wanted to shout out a few theatre events happening:

If you’re looking for some big, wacky, scary musical fun – check out Alexander Showcase Theatre’s production of Young Frankenstein – The Musical, playing now at the Al Green Theatre (Bloor/Spadina, Toronto), with its final shows this week April 18-21. Please note the early curtain time on weeknights. I’ll be going on Thursday – really looking forward to seeing this, especially as the cast includes two former Alumnae Theatre Lady Windermere’s Fan cast mates: Andrea Brown and Patrick Brown.

Speaking of wackiness, Alumnae Theatre Company’s run of The Killdeer continues on the Alumnae main stage (70 Berkeley St. – Berkeley/Adelaide St. E., Toronto). Performances are Wed – Sun until April 27, with a talkback following the matinée on April 21.

Wacky fun times continue at Red Sandcastle Theatre’s In Loo Of fundraiser, running April 17-20 (922 Queen St. East, Toronto) – proceeds go towards building a bathroom for the performers in the basement of the theatre. This will be a true open mic event – and anything can happen. Literally. Show starts at 8 p.m. – tickets $10 (or more if you can). If you can’t make it out, you can still make a donation – they’d sure appreciate it. Give Owner/Manager/AD Rosemary Doyle a shout: redsandcastletheatre@gmail.com  And when you drop by the website, check out the schedule for the rest of April while you’re there.

 

Magic & mayhem in a small town – Alumnae Theatre’s The Killdeer

A rural kitchen with lavender walls, wallpapered below the chair railing on one side and paneled with different cuts of wood on the other. An open doorway reveals a pantry, shelves full of mason jars of colourful preserves. Up centre, a tree sprouts, covered in all manner of porcelain knick-knacks – a tea pot, glass animals – instead of leaves. Through the window, a portion of it cut away, vines enter from the outside world, and we get the stage right view of white birches, giant bull rushes and the beginning of a glittering green swamp.

Marysia Bucholc’s set is the audience’s introduction to the world of the Alumnae Theatre Company’s production of James Reaney’s The Killdeer, directed by Barbara Larose, with assistant director Ellen Green, part of Alumnae’s “Countdown to 100” retrospective programming as it approaches its 100^th anniversary (it’s 95 now). Reaney’s play, which came about due to the encouragement of late director and Alumnae member Pamela Terry, had its premiere at Alumnae in 1960 (back when it was located on Bedford Road) and was directed by Terry – and it launched Reaney’s career as a playwright.

In this seemingly quaint country town – part rural gothic, part fairy tale place – with a mysterious and violent history, this kitchen in the Gardner home is a whimsical oasis of innocence. Through prose that is at times vernacular, at others poetic, storytelling and gossip, The Killdeer takes us on an intense, dramatic – and at times magical – journey into the lives and secrets of its characters.

Like me, you may be asking, what the heck is a “killdeer”? The press release for the production provides a helpful definition: a killdeer is “a small bird, known for feigning a broken wing to draw predators away from its nest, which is built on open ground, and for calling out its own name.” Sound designer Rick Jones incorporates the call of the killdeer into the production, along with musical touches of whimsy, mystery and drama, inspired by the original production’s sound design by John Beckwith.

The Killdeer features a very strong cast. Tricia Brioux’s Madam Fay is a deliciously arch, darkly comic and dangerously crazy lady with issues, while Tricia’s real-life nephew Matt Brioux (playing Madam Fay’s son) rounds out Eli’s seemingly simple-minded, childlike behaviour with good sense and a good heart. Rob Candy does evil up good as Clifford, a notorious piece of work whose menacing character rivals even that of Madam Fay. As Mrs. Gardner, Anne Shepherd combines a sense of rural tradition and individual quirkiness as Harry’s bric-a-brack collecting, overprotective mother, while Marie Carrière Gleason is great fun as Mrs. Gardner’s gossipy neighbour Mrs. Budge. Paul Hardy offers a nice transition as Harry goes from wide-eyed innocent teenager to a good man searching to find his way and save the true love of his life; and Blythe Haynes is lovely as Rebecca, a lost innocent like Harry, protective of those she loves even to her own detriment. Naomi Vondell adds some nice layers of mystery to the put upon Jailer’s wife Mrs. Soper, left to manage the cells while her husband is away. In their multiple roles, Michael Vitorovich is delightfully evil as the Hangman and comically officious as the Judge; Joanne Sarazen is especially entertaining as the mercurial Crown attorney and Tina McCulloch – doing quadruple duty playing two characters, as well as marketing/publicity and co-producer – gives a nice comic turn as courthouse cleaning lady Mrs. Delta. Peter Higginson’s enigmatic physician turned hermit Dr. Ballad is both gently wise and sharply funny.

Razie Brownstone’s costumes, and prop team’s Tess Hendaoui and Deborah Roed detailed touches, make for a lovely combination of realism and once upon a time. And Ed Rosing’s lighting design ranges from the clever (the box-like light on the floor for the witness stand in the courtroom) and magical (the lighting on the swamp and the twinkley lights on the walls of the set that burst out into the back of the house). All held together by intrepid SM/lighting op Margot “Mom” Devlin and her ASM team. Shouts also to co-producer Lynne Patterson and opening night catering mistress Sandy Schneider – and to Suzanne Courtney at Ticking Time Bomb Productions for the graphic design work on the poster (and for the entire season).

This was one crazy trip. And The Killdeer leaves the audience talking.

The Killdeer runs on the Alumnae Theatre main stage until April 27, with a talkback following the April 21 matinée. In the meantime, check out this Hye’s Musings blog interview with director Barbara Larose.

Happy World Theatre Day!

Happy World Theatre Day, all!

If you haven’t already, please take a moment to read the World Theatre Day 2013 message from Nobel Prize-winning playwright and author Dario Fo.

I’ve had the pleasure of seeing some truly remarkable work here in Toronto – especially from smaller, indie theatres and companies – and feel very lucky to be living in a city that has such an active, diverse and brave theatre scene. The New Ideas Festival just wrapped up on Sunday – and I’m already looking forward to the upcoming Toronto Fringe 2013 and SummerWorks fests, as well as various other shows coming up.

What theatrical works have you seen recently? What moved you, infuriated you, made you laugh?

Shades of love & relationships in New Ideas Week Three program

Dark humour, the philosophy of love and relationships, and the use of storytelling as a theatrical device feature prominently in a funny, moving and even disturbing Week Three program – the final of this year’s New Ideas Festival (NIF) at Alumnae Theatre.

Dead French Philosophers and What We Mean When We Talk About Love (James Papoutsis, dir. by Yevgeniya Falkovich) uses split staging to great effect as the audience becomes a lecture hall of students, with philosophy professor David Black (Derek Perks) telling us that love doesn’t exist – only to then hear him confess to being in love himself. The action alternates between Black telling us his story on one side of the stage, as a man (Phil Rickaby) and woman (Nicole Wilson) play it out at a café table on the other side. Variations on the theme play out in the two-hander scenes in surprising and interesting ways. A well-acted and sharp play of ideas here – Perks is diabolically hilarious, and rounds Black out with a sense of vulnerability and frustration, as do Rickaby and Wilson. It would be intriguing to see both versions of Black in the lecture hall, one speaking to the subject of the course, and the other voicing his thoughts and telling the story – perhaps with points of view bleeding into the other.

My Friend’s Best Friend’s Boyfriend (Wesley J. Colford, dir. by Joanne Williams) starts off as a bro’s movie night for Ben (James Aaron) and Alex (Kwaku Adu-Poku) at Alex’s apartment, and becomes the story of a Boyfriend (Jared Bishop) and Girlfriend (Christina Manco), as told by Ben. Split staging was also used in this piece, with the two guys hanging out on a couch stage right as the couple interact in the Boyfriend’s kitchen stage left, illustrating what Ben has just told Alex. Concerns about the Boyfriend being abusive play out and the piece ends with Ben’s girlfriend Susan (Karen Scobie) arriving at Alex’s. There’s a thought-provoking twist here and I wondered if this would make an effective, instructive school tour on the nuances of abusive relationships. Nice ensemble cast and the two-sided staging worked very well here.

Eglinton (Anthony MacMahon, dir. by David Suszek) also uses a split stage set-up – a two-hander of an intense, life-and-death evening in the lives and relationship of Mary (Anne-Marie Krytiuk) and Charlie (Nicholas Porteous). Each tells portions of the same story from his/her point of view, and this continues when the action brings them together as Charlie arrives at a strange apartment on Eglinton to help Mary. The darker side of love, told with tenderness, brutal honesty and dark comedy. Nice work from the actors with the storytelling and internal monologues – and the dialogue between them at the end comes as a relief.

My Red Feather Boa (Flora Stohr-Danziger, dir. by Nancy Bradshaw) is a remount of a NIF 2004 production, featuring the same director and actor. A one-hander starring Whitney Ross-Barris as Celine, the boa is a character on its own, morphing into representations of an erection, water, a cat, a comforter, a loved one – and as itself in Celine’s exotic dance act. It’s a funny, sexy and touching journey of hardship, broken dreams, tragedy, love and hope as Celine pursues her dream of becoming a movie star in Toronto. In the end – lust, love and kindness are enough. Ross-Barris is a delight as Celine, and deftly shifts into multiple characters, portraying the various folks Celine encounters along the way, from a randy restaurant patron to a pinched employment agency rep. I saw the original production, and this play is just as enjoyable and moving the second time around.

The Week Three reading Everything But the Cat… (Adrianna Prosser, dir. by Steph Ouaknine) is going up as I post this. The Week Three program has three more performances, closing with a 2:30 p.m. matinée tomorrow.

What did you see at NIF this year? Any favourites?

For more bloggage on NIF Week Three, scroll down to see my reblog of Alumnae Theatre’s blog post.

More fine plays in progress – New Ideas Week Two program

Another series of fine works in progress at Alumnae Theatre Company’s New Ideas Festival (NIF) Week Two program this week.

The Deepest Trench (Chloë Whitehorn, dir. by Justen Bennett) is a sharp-humoured three-hander, an “almost love story” featuring a brother (Ryan, Ryan Bainbridge), sister (Kate, Stephanie Barone) and sister’s BFF (Emma, Jen Viens) – with relationship dynamics shifting when Emma comes to live with the sibs. The witty repartee includes some fun current event and pop culture references (the new Pope, the Bugs Bunny Abominable Snowman episode and Buffy ep. 4.04), as well as some very sweet in-jokes between Ryan and Emma. Ryan’s sweet, sensitive nature appears at first to be in direct contrast to the women’s brasher, aggressive approach to life – but things can change when times get rough and life-changing situations are at hand. Lovely use of storytelling. Excellent ensemble. Interested to see where this goes.

Two Actresses (R.J. Downe, dir. by Pamela Redfern) is a charming, fun satire of two community theatre divas and their visit to the E.R., which interrupts their dress rehearsal. Margo (Anne Harper) and Susan (Jane Reynolds) clearly dislike each other. A lot. And it turns out that, over their decades-long frenemy relationship, they’ve wanted more than the same parts. Nice work from Harper and Reynolds. Would love to see Margo and Susan interact over the course of their history together.

Over the Edge (Catherine Frid, dir. by Pomme J-Corvellec) is a timely one-hander, given that the World Figure Skating Championships are on this week (in London, Ontario). The play is a moving, intense and thought-provoking look at the inner and outer workings of a young competitive Singles skater, Janet (Caroline Toal), as she faces an extremely difficult decision. Nice work from Toal, who gives a lovely combination of passion, determination and desperation to the young athlete. Would love to see this done with multi-media, with skating footage, music and medical imaging.

Pieces of Penelope (Gina Femia, dir. by Janet Kish) takes us across time, space and realities as we visit the parallel worlds of mythic Penelope (Caitlin Robson) and present-day Penny (Kristen Zaza) as they both await their husbands’ return from war. Storytelling and magic realism are put to extremely effective use in this touching, dramatic and sexy play. Rounding out the excellent all-female ensemble are Sarah McCully as Penny’s friend Sarra, and Jessica Quartel, playing multiple roles – Melantho (Penelope’s friend & servant), Odysseus and Penny’s husband Owen. Watching this version of the Penelope story, I could not help but think of Margaret Atwood’s The Penelopiad – only in this case it’s a myth meets modern world take on the tale. Looking forward to seeing the evolution of this piece.

The Week Two reading Lullaby for the Abandoned (Rain Chan, dir. by Brenda Darling) is up and running as I post this. I was unable to attend today’s reading, but will check in on the Alumnae blog to see if they posted on it later this week. The Week Two program continues with two performances today and closes tomorrow afternoon.

The NIF Week Three program and reading – the final of the 2013 festival – go up next week (March 20-24).

What have you seen at NIF? Any favourites?

Even more to see – Upstart Theatre’s The Seagull in Four Movements

Realized when I posted up and coming works yesterday that I forgot to mention another local theatre company’s (formed by a group of University of Windsor drama grads) upcoming production – and that’s Upstart Theatre’s new take on Chekhov’s The Seagull – The Seagull in Four Movements, opening tonight and running March 14-16 and March 21-23 at the Winchester Kitchen and Bar (Toronto).

Check out the trailer from their Facebook page.

It’s a very cool, intimate space at the Winchester and seating is limited, so it’s a good idea to book tix in advance: 416-323-0051 or email upstart.theatre@gmail.com – or, at the very least, get yourself there early.

So much fun coming up!

Thought I’d take a moment to post about some ongoing/upcoming arts events.

Alumnae Theatre Company’s New Ideas Festival (NIF) continues this week with the Week Two program and reading (March 13-17), with Week Three program/reading running the week after (March 20-24).

Quick note on Saturday’s Week One reading of Falling: We had a packed house, with an audience who responded very positively and had some great feedback for playwright Jamie Johnson. Shouts to Jamie, co-artistic directors Pat McCarthy and Carolyn Zapf, director Ed Rosing, AD/SM Jake Simpkins, dramaturge Diane Forrest, sound designer Rick Jones, and fellow cast members Carys Lewis, Cora Matheson, Ruth Miller and Kristen Scott! And a big thanks to all the folks who came out to support the play, including friends and family – some of whom trekked in from Ottawa, Burlington and Hamilton. xo

The next edition of The Beautiful and the Damned is Thursday, March 14 – 7 p.m. at Glad Day Bookshop. Host DM Moore introduces feature performers Greg “Ritallin” Frankson, Gerald Hannon and Andraya Smith, and some amazing open mic folks.

The next Songwriters Circle of Jerks is coming up on Thursday, March 14 – 8:30 p.m. at Free Times Café, featuring Brian Cober, Hugh Wilson, Marcus Walker, Nelson Sobral and Nick Verona.

Nightwood Theatre’s Groundswell Festival opens Friday, March 15 and runs until March 24 at Berkeley Street Theatre – check out the cool promo vid for the fest.  Features a new play by one of my favourite playwrights: Judith Thompson’s Who Killed Snow White? Also check out Nightwood’s annual International Women’s Day Celebration FemCab on Wednesday, March 20.

Speaking of my favourite playwrights, check out ongoing productions of works by Hannah Moscovitch (Double Bill) at Tarragon Theatre (till March 24) and Theatre Brouhaha’s production of Kat Sandler’s Rock at Storefront Theatre (till March 23).

And while you’re at it, check out the March programming and workshops at Red Sandcastle Theatre.

Canadian Music Week (CMW) is coming up hard and fast (March 19-24) – so check that out. Just a selection of some artists I know who will be performing: Angela Saini, blueVenus, Meghan Morrison, Jessica Speziale, Tin Star Orphans

But wait – there’s more! Bella’s Burlesque Birthday Bash: DIRTY THIRTY DANCE PARTY is coming up on Thursday, March 28 at Lee’s Palace – 8:30 p.m. Bella Fox hosts a night of burlesque, music (including High Heels Lo Fi), dancing – it’s going to be a blast. Next day is Good Friday, so lots of you will be able to sleep that one off.

All the more reason for me to get over this stupid head cold, which I’ve had since last Thursday.

New Ideas Fest opens with a very strong Week One program

Alumnae Theatre’s New Ideas Festival (NIF) turned 25 last night as it kicked off its opening night of three weeks of new, short plays in progress with its Week One program.

NIF Week One includes a remount of Shirley Barrie’s Revelation, directed by its original director and NIF co-founder Molly Thom – part of the 25^th anniversary celebrations. Husband and wife John (Steven Burley) and Mary (Patricia Hawk) awaken side by side in the hereafter and become reacquainted as they await their final judgement. Charming, imaginative and funny – and featuring sound design by the late Martin Wolfman, a great friend to the theatre and Alumnae in particular – Revelation is as more about the post big freeze personal accounting of lives lived than it is about the Big Guy’s take on things.

Still Waters (Suzanne Gauthier, directed by Stacy Halloran) is also a sweet, fun husband/wife two-hander. After downsizing from their quiet Leaside home to a condo in downtown Toronto, Frank (John Illingworth) has set up a sleep aid contraption for his wife Monica (Sandra Burley) – with the unfortunate result that it’s having the opposite effect for which it was intended. The  parts (purchased at the classic “Dad store” Canadian Tire) and running water sound are driving Monica nuts! A comic, touching slice of an older couple’s life.

Say the Words (Tina McCulloch, directed by Kimberley Radmacher) is a beautifully written and acted monologue of a young woman’s (Em, played by Alexandra Manea) reflections on love and loss. Words spoken and unspoken are recalled, and interpretations considered as Em remembers the relationship and considers how she could have responded in a way that reflected how she really felt. Speaking to a former female lover, now dead, the actor can be cast as a man or a woman – and the piece has room to evolve in terms of length and staging.

Stalled (Eugenie Carabatsos, directed by NIF co-founder Kerri MacDonald) takes us on a journey of memory as Maggie (Julie Cohn) takes her beloved car to be junked. As she recalls various moments from her life related to the car (also a character in the play), we meet her family (Dad – Rob Candy and sister Katie – Jillian Welsh), friends and ex-boyfriends (Johnnie – Richard Niu and Doug – Alex Sims), and a friendly stranger (Mark – Andrew T. Gaunce) as this drive down memory lane becomes an assessment of her life. Great ensemble work and really fun, creative staging of the car – which you really need to see for yourself.

A very strong week of work all around, NIF’s Week One program runs until Sunday, March 10 and includes a one-time reading of Jamie Johnson’s Falling, directed by Ed Rosing, on Saturday, March 9 at noon. There will be talkbacks after all the NIF readings and Saturday matinées.

NIF continues with its Week Two program next week (March 13-17).