WAR HORSE
Written by Nick Stafford
Based on a novel by Michael Morpurgo
Directed by Marianne Elliott and Tom Morris
Starring ŅJoeyÓ, Alex Furber and Patrick Galligan
Princess of Wales Theatre
Mirvish.com
THE BLUE DRAGON
Written by Marie Michaud and Robert Lepage
Translated by Michael Mackenzie
Directed by Robert Lepage
Starring Henri Chassˇ, Marie Michaud and Tai Wei Foo
An Ex Machina Production
Royal Alexandra Theatre in Toronto
Mirvish.com
CAROLINE OR CHANGE
Book and lyrics by Tony Kushner
Music by Jeanine Tesori
Directed by Robert McQueen
actingupstage.com
obsidian-theatre.com
CRUEL AND TENDER
Adapted from Sophocles Trachiniae
by Martin Crimp
Directed by Atom Egoyan
Bluma Appel Theatre
canadianstage.com
DARK MATTERS
Created by Crystal Pite
Original music by Owen Belton
Bluma Appel Theatre
canadianstage.com
SLEEPING BEAUTY
The National Ballet of Canada
Produced, orginally staged and with additional choreography
by Rudolf Nureyev after
Marius Petipa
Staged by Karen Kain
Four Season Centre for the Performing Arts
national.ballet.ca
THE SMALL ROOM AT THE TOP OF THE STAIRS
by Carole Frˇchette
Translated by John Murrell
Directed
by Wyni Mengesha
Starring Claire Calnan, Sarah Dodd, Raquel Duffy,
Rick Roberts, Nicole
Underhay
tarragontheatre.com
KIMÕS CONVENIENCE
Written by Ins Choi
Directed by Weyni Mengesha
Yonge Centre for the Performing Arts
thedistillerydistrict.com
soulpepper.ca
HIGH LIFE
Written by Lee MacDougal
Directed by Stuart Hughes
Featuring
Oliver Dennis, Michael Hanrahan,
Diego Matamoros, Mike Ross
Soulpepper.ca
Written and performed by Daniel Clarkson and Jefferson
Turner
Directed by Richard Hurst
Panasonic Theatre
pottedpotter.com
War
Horse is now on the stage of
the Princess of Wales Theatre, and words fail me to come up with any additional
superlatives that have not already been accoladed by the international press
for this exceptional piece of stagecraft (see David SpencerÕs review of the New
York production in the Aisle Say archives). It is, in its essence a powerful
example of theatrical narrative (presented very much in the style of Joan
Littlewood) and ultimately a profound condemnation of war.
When
the National Theatre of Great Britain commissions a new piece of work for the
main stage, they donÕt do so without putting a challenge in front of their
actors which then becomes the benchmark for all future productions. This all
Canadian cast has met that challenge and carried the day. Outstanding
performances here by Alex
Furber, Patrick Galligan, Brad
Rudy, Tamara Bernier-Evans, Richard
McMillian, Steven Yaffee, Brendan
Murray and Brian Paul to name a few from this talented group of
35 actors. Design elements contributed by Rae
Smith (set and costumes) and
Paule Constable (lighting) take us from the verdant
paddocks of Devon, England, to the brutal battlefields of France and back again
that, in the end, leaves only the most cynical and hardened theatregoers among
us not reaching for a hanky as the curtain falls.
However
deep and powerful the message of War
Horse, the success of this
vehicle rests in the old show biz adage, Ōyou gotta have a gimmick if you wanna
get applauseÕ. The gimmick here is the artistry of Adrian Kohler and Basil
Jones, the founders of
Handspring Puppet Company of Cape Town, South Africa. Not since Michael Curry
designed the puppets for Lion King has such remarkable work been deployed so
convincingly on the stage. With the help of choreographer Toby Sedgwick and the co-direction of Marianne Elliott and Tom Morris,
these animals (one hesitates to even call them puppets they are so lifelike)
move convincingly from one gait to the next, propelling Michale MorpurgoÕs 1982 novel into an emotional evening
of dramatic storytelling.
Also
on the Mirvish subscription season this year, The Blue Dragon by
Marie Michaud and Robert Lepage
(which recently concluded its run in Toronto but is still touring
internationally), is, on the surface, a deceivingly simple story of Mr.
Personal meeting Ms Political set against a huge backdrop - modern China. My
introduction to the script was by way of the glorious graphic novel adaptation
illustrated by Fred
Jourdain. The reason I
mention this at the outset is because the graphic-novel application (published
by House of Anansi Press) is a marvelous introduction to understanding the real
depth and cultural sensibility that is at the core of the play.
Le
Dragon bleau, was written
and designed to be performed in three languages - French, English and Mandarin.
For a better understanding of the text in the graphic adaptation, the authors
and the publishers agreed to have the dialog between Claire and Pierre in
English while in the stage production it is performed in French. In short,
spending some time with the comic book first not only allows a deeper insight into
the story, it also improves your language skills.
With
only three characters, Pierre (Henri
Chassˇ), Xiao Ling (Tei Wei Foo), and Claire (Marie Michaud) the signature visual style that Lepage
has mastered so eloquently over the years, transports us (travel and journey is
often at the centre of LepageÕs mise en sc¸ne) in time and space, through
personal relationships and political agendas that affect the characters and
eventually force them (and us) to ponder which ending (of three offered) would
be for the betterment of everyone. As this Ex Machina procduction continues to
make its way around the world, it should be a must see.
For
a long time now, the small to mid size theatre companys in Toronto have
resisted producing new musical theatre projects. Probably the cost involved is
one factor that scares off artistic producers although many of the cityÕs
stages would be musical -sympathetic including Tarragon, Factory, Theatre Passe
Muraille, Buddys in Bad Times, and especially the Bluma Appel. A creative vacuum
developed and now that climate is beginning to change a bit with the emergence
of new companys that have as their sole mandate the production of musical
theatre. Acting Up Stage Company (founded in 2005) is one such group that is to
putting together an impressive track record.
In
collaboration with TorontolÕs Obsidian Theatre Company, AUSC recently produced
a magnificient production of Tony
KushnerÕs Caroline or Change. I do believe that Mr. Kushner is
probably the only librettist/ lyricist alive today that could have fashioned
such a story (much of it autobiographical) that combines a profound meditation
on Jewish American and African American solidarity as well as the pain of
racial divide and class antagonisms - all framed in what might be described as
a kind of dialectical surrealism. Hum a few bars of that why donÕt you.
The
production values were superb in the larger space at Berkeley Street that
accomodated the upstairs/ downstairs motif of the story (with a set nicely
designed and executed by Michael
Gianfrancesco). Reza Jacobs led the five piece band admirably
conducting Jeanine
TesoriÕs rich score that,
swung sweetly in and out of various ethnocultural neighborhoods without
becoming a cliche. Kimberly
PurtellÕs lighting was
subtle when it needed to be while also shining the harsh light of reality when
called for.
The
ensemble was exceptional and evenly balanced througout but special mention must
be made here of the superb performance by Arlene
Duncan in the leading role
of Caroline Thibodeaux. It is
wonderful to see Ms. Duncan back on the mainstage where she belongs after
having laboured long and diligently on the hit CBC television show, Little Mosque on the Praire, that, for all of its entertainment
value as tv sitcom, sorely underused DuncanÕs prodigious talents as a dramatic
actor and singer.
Canadian
Stage continues with an interesting albeit uneven second half of its 2011-12
season under the overall artistic leadership of Matthew Jocelyn.
Cruel and Tender is Martin
CrimpÕs adapation of a
lesser known play by Sophocles, called The
Women of Trachis. The play
appeared as a bold and urgent stroke of writing when it was originally mounted
by the Young Vic in 2004, as a condemnation of war, terrorism and torture only
one year after George Bush invaded Iraq, defying millions of anti-war
protestors who marched in tandem in cities throughout the world prior to the
invasion. After all who does war better than the Greek classics?
And
although the urgency is now somewhat deflated and replaced by the droll cynicsm
and wry humor of playwrights like Roland Schimmelphennig, the message was still
delivered in the Canadian Stage production with white hot emotion from Arsinˇe
Khanjian in the central role of Amelia, a woman who is caught in the middle of extreme
events. KhanjianÕs partner in life, Atom Egoyan, directed with competence and
skill. Plus, his participation helped to make it a high profile media event
which never hurts when it comes to putting bums in seats.
One
of the interesting innovations brought to Canadian Stage by Matthew Jocelyn is
the notion that a theatre company may expand its mandate to ecourage
multi-disciplinary perfomance styles within its season. Thus the presence of
choreographyer Crystal
PiteÕs acclaimed creation, Dark Matters which was also presented in the Bluma
Appel. Following in the La La La Human Steps of choreographers like Louise
Lecavalier, Ms Pite has fasioned two tales that ask us to think about fate and
the nature of existence.
In
the first piece, Pite uses her ensemble in a unique way by turning five of them
into puppeteers with only one dancer portraying a kind of young Gepetto
character who is creating a puppet. But rather than Pinochhio, the puppet turns
into Chuckie. Well, you can take it from here. In the second part of Dark Matters, Pite asks us to contemplate human
existence and in case we miss the point she calls upon Voltaire to remind us
that Ņthis temporary blend of blood and dust was put together only to
dissolveÓ as we watch her tightly
woven style that has dancers literally flirting with the dark, always in and
out of the shadows, within a broader template that at times freely appropriates
the b-toying and crunk styles of street dance while imbuing it with a message
that makes us sit up and take notice.
While
on the subject of dance, one should mention that this kind of cross programming
only enhances attendence at other dance events, or at least that was true in my
case recently when as a result of seeing Dark
Matters I was moved to pay a
visit to the National Ballet of CanadaÕs production of Sleeping Beauty at the Four Seasons Centre for the
Performing Arts. Any production that can blithely note in its program
notes: Ņproduced, orginally staged
and with additional choreography by Rudolf Nureyev after Marius PetipaÓ
immediately envelopes you in an aura of great expectations and NBC artistic
director Karen KainÕs work here is a triumph.
In
the midst of all the uproar at the Tarragon Theatre recently it is important to
remember that The
Small Room at the Top of the Stairs,
written by Quebec playwright Carole
Frˇchette and artfully
directed by Weyni
Mengesha, does great justice
to the mandate of the theatre established just over 40 years ago. Beyond the
developement and presentation of new work, Tarragon haa ensured that the best
of Francophone theatre has an opportunity to be translated and produced in
Toronto. Carole FrˇchetteÕs update on the BluebeardÕs
Castle tale is a good case
in point.
In
ways similar to Bart—kÕs opera, Frˇchette reconceives the piece with a heavy
dose of psychological thriller. Also, like the opera, it is short (90 minutes
in length) and ends with a rumination on the essence of what constitutes Ņtrue
tearsÓ. Nicole Underhay, as Grace, starts off a few emtional
decibles too high for my way of thinking and finds herself having to maintain
that dramatic pitch throughout the play as a result. I think she could have
underplayed a bit at the start and built to the hysterical as she went along,
but thatÕs just me.
Astrid
JansonÕs flat lined set
worked well for the piece as did Bonnie
BeecherÕs spot on lighting. Thomas Ryder PayneÕs composition and sound design might
have included a bit more underscoring. Hey - if we are moving into Psycho territory, a little Bernard Herrmann
wouldnÕt hurt.
Now
just a quick update on the uproar at Tarragon. As everyone in Toronto knows by
now, playwright Michael
Healey and his partner Morwyn Brebner have packed their bags and moved out of
their long term residency at Tarragon over Richard RoseÕs
refusal to consider staging Proud, HealeyÕs new play that apparently does
not treat an unamed but sitting Prime Minister of Canada all that politely.
Rose apparently sought the advice of a lawyer who sits on the TarragonÕs board
of directors and was told that the theatre could face libel charges and that
Rose should not produce the play. While Healey went public on the incident and
Rose has decided to stay mum, one look at TarragonÕs board would suggest that
prominent arts advocate (and lawyer), John D. McKellar, might have been the
person from whom Rose sought consultation and advice (Healey also sought legal
counsel and was told the play was not libelous).
This
becomes all the more awkward and worrisome because McKellar also sits on the
board of the Toronto Arts Council and to speculate that grant monies that come
from the TAC may or may not be awarded or adjudicated on the basis of how they
hold up to libel chill from conservative politicians just will not stand in
front of the Toronto arts community. At this writing, Andy McKim, artisitc director at Theatre Passe
Muraille, has announced that his company will produce a staged reading of
HealeyÕs play on March 19th. Look for a packed house.
If
there is one theatre in Toronto this season that just cannot make a misstep, it
would be the Soulpepper company. KimÕs
Convenience, written by Ins Choi and directed by Weyni Mengesha (seemingly the fastest rising artistic
director in the country) is an excellent example of how all theatre is really
local in its perspective no matter what the subject matter. The playwright
responds to local stimuli, ethnocultural dynamics, history, politics and
pressures that exist locally and produces a play which comes out of a specific
environment that varies from city to city and country to country. In this case,
Choi looked at his own Korean upbringing in the city where his father managed a
local convenience store. The fact that the store is located not too many blocks
from my own neighborhood, only increased the honesty, sincererity and emotion
of the piece for me. Choi himself plays the small role of Jung, the alienatied
son who returns home to the store to reconcile with his authoritarian father.
If Paul Sun-Hyung Lee does not win the Dora award for best
actor for his performance as the father, Appa, there is simply no justice
anywhere. Strong supporting performances also by Clˇ Bennett, Esther Jun and Jean
Yoon.
Choi
has clearly learned the art of playwrighting from his tenure with Soulpepper.
To see his work blossom with such striking beauty is a great thing to behold.
Althouigh the playÕs run is over at this writing, it will be remounted
beginning May 16th at the Young Centre for the Performing Arts for a three week
run. If you missed it first time around, hereÕs your chance.
A
second Soulpepper hit this season is High
Life by Lee MacDougall. This script speaks to a question IÕve
had to ask myself recently: why is that much television - including smart
sit-coms as well as dramatic series - contains a quality of writing that far
surpasses what i often find in the theatre? Is it because television and film
can pay more so that our best writers go there and donÕt even bother with the
theatre anymore? And why is it, when a play gets produced that is funny -
really funny - it often gets put down by critics as being Ņsitcom materialÓ -
as if this is a terrible thing?
In
High Life, Lee MacDougall has written a great
heist movie. The scenes move along quickly, the characters are carefully (and
humorously) delineated and the whole thing keeps its secret right to the end
with an almost unbearable dramatic tension for reasons I wonÕt disclose here.
Suffice it to say that male readers of a certain age will relate to one of the
characters ŅurgencyÓ with great sympathy. Oliver
Dennis, Michael Hanrahan, Diego
Matamoros and Mike Ross are all perfiectly cast and therein lies
another reason why Soulpepper is a great theatre company.
The
development of an ensemble of actors that has the opportunity to grow and
develop together over a number of years simply cannot be compared to casts who
come together for a limted three or four week rehearsal run that culminates in
production. Artistic director Albert
Schultz has thought about
this problem long and hard and his ability to respond to the needs of the
company artistically as well as financially is one of the great attributes of
Soulpepper. It is also a large company of actors that allows it to produce
small but artistically brilliant work like KimÕs Convenience as well as larger classical plays. I predict the upcoming
revival of George S. Kaufman and Moss HartÕs You CanÕt Take It With You next month (April) will be a huge
popular success and Soulpepper is the only company in the city that has the
financial resources as well as the actors to take it on.
Under
normal circumstances in scheduling what shows I choose to review, Potted Potter,
The Unauthorized Harry Experience - A Parody by Dan and Jeff, probably would not have created a blip on the radar
screen. But since my young friend, Sammuel Zimbel (age 10), who has read all of the books and seen all
of the movies, expressed a keen interest in this show, I relented. I should add
here that we were accompanied by his mom who is also a big Potterhead.
Forewith
master ZimbelÕs review:
ŅPotted potter was a great show! There were some
extremely funny parts where I almost cried I was laughing so hard. The only
problem was you kind of had to read the books because it hardly explained the
plots at all. Even seeing the movies wouldn't have helped you understand what
was going on. Obviously, it wasn't very descriptive. The funniest part was the
part with the dragon, but I won't spoil that for you. Playing quidditch was
pretty funny too. I liked that they were British and made jokes about Canada.
It was great - see it. (also the tickets were cheap! Just kidding even if they
were) see it!!Ó