Wednesday, October 22, 2014
Under Construction: THE ART OF BUILDING A BUNKER at the FACTORY THEATRE
It's tough to want to write about a play on a day when the nation's capital has come under armed seige, a gunman was shot dead by the Sergeant-at-Arms on Parliment Hill, and an unarmed member of the Armed Forces was shot dead while performing his duty, as an honour guard, at the Tomb of the Unknown Soldier. A real bunker suddenly seems like a far less crazy idea.
However, here we are. Last night, five days after THE ART OF BUILDING A BUNKER opened, the media was invited to attend, and review the show. While I was at the theatre, I was handed a postcard by a group called reviewproject.org, and offered a prize for posting an opinion. On my way out the door, some young thing walked up to my friend and me, and asked for our "gut reaction". I should have said, "no comment." I didn't.
I don't write for prizes, though it is always nice to win one. I don't write "my gut reaction" when I write critical analysis. I try to go away and think, carefully, about what I want to say. Sometimes, that takes a few days. I want to refine my thinking, as I hope the playwrights and the creators of the show have done.
THE ART OF BUILDING... tabled a lot of good ideas, and some very fine work from the performer, as well as from the design team of Camellia Koo (set and costumes) Michelle Ramsay, (lighting) and Richard Feren (sound). However, the script by Adam Lazarus and Guillermo Verdecchia still feels like work in progress, albeit work that is potentially really interesting and certainly topical.
This is a "gut" play. The protagonist, a guy called Elvis, has been sent for sensitivity training. When we meet him, he's starting Day One of the week-long process, with a bunch of really irritating people, and, an absolutely insufferable group leader.
Adam Lazarus is a fine physical comedian. He deftly creates the "group" Elvis is subjected to, switching with ease from character to character. The ponce of a pseudo-spiritual leader is a particularly funny turn. In the first half, we're in Ricky Gervais meets Benny Hill territory. While somewhat slight, and mildly offensive, (sexist, homophobic, racist) it's basically light-weight observational comedy.
Then we end up in the bunker Elvis has built in his basement, as he tries to summarize what he's learned in the week. If he fails, he loses his government job. His wife and baby are upstairs, while he remains alone with his paranoia, irritation and increasingly dark thoughts.
The two halves are so poorly joined, I felt as if I was watching two separate, and tenuously linked, short one acts, glued together to make a 90 minute show. The writing was interesting, but it was not of a piece, and the direction did nothing to wallpaper over that.
What I said, in my "gut reaction" last night was, "you need to finish thinking before you write." What I should have said was, "Writing is easy. Re-writing is hard." This play needed a re-write and it didn't get one. That;'s too bad, because it could be a brilliant exploration of the ways fear drives prejudice. All the ingredients are there: they just need to be put together a little better. The bunker is still under construction.
As to the Factory Theatre's decision to ask critics to review five days into the run: well, it sold them three or four more subscriptions, or at least a few more tickets. Richard Ouzonian at the The Star, J Kelly Nestruck at The Globe and Mail, and NOW Magazine ( the three big guys, and they are guys, writing at all three papers) bought tickets and reviewed earlier in the run, as did Lynne Slotkin. Did the experiment to "foreground the audience in the discussion" work? Not so far. Does this mean, to be relevant, I should just buy a ticket and review early? Does the theatre want to stop giving out media comps? Why not just say so?
I'd just like to make a further observation, also about money and management. Since the end of the Factory's last season, their Director of Marketing, their General Manager and their senior dramatist are all no longer in the employ of the company. All three of the former staff: Gregory Nixon, Sara Meurling, and Iris Turcott, number among the most senior and respected cultural administrators, producers, and script developers in the country. Only the artistic staff, and the hated board remain.
Currently the Factory has no General Manager. They are in the middle of a significant renovation of their second space. I was asked for donations last night, but not to a capital campaign, only to subsidize the development of new plays. Judging from what I saw last night, they need more development time on new work. However, is the new theatre totally paid for? How?
I can't imagine a senior business staff member would have taken a decision to stir the pot with the media at a time when the Factory is so badly in need of goodwill, and money, especially from subscribers and donors, who are, generally, older. The theatre already alienated many audience members (and artists) with their decision, two years ago, to fire the old(er) AD, Ken Gass, and replace him with his younger assistants. Now, all of the old(er) people are gone.
Your dad may read the paper online, he may even have a FB page and a Twitter account, but, he's reading the paper, and, probably, listening to the radio. He's also more likely to donate to the theatre, because generally, he has more dosh.
I'm just an old irrelevant blogger, not one of the cool kids. I spend, on average, $1200-1500 a year, attending the theatre. I have richer friends in my age demographic who spend 10K. A lot of them ask me what's good. I've been going to the theatre, and working in the business, since the '70s.What the hell do I know?
Monday, October 20, 2014
Film Noir as Art Project: HELEN LAWRENCE at Canadian Stage
I saw HELEN LAWRENCE, the collaboration between internationally renowned visual artist, Stan Douglas, and his long-time friend, acclaimed television writer Chris Haddock, on Saturday night.
The conceit of the piece is that it is simultaneously a play, and a film noir, taking place in real time, shot with multiple cameras onstage,operated by the actors.
The performers execute their scenes behind a backlit screen, while they appear blown-up, foregrounded, in blue and white, on the screen in Haddock's complex, and intense script.
It looks fabulous: a loving homage to film noir. However, it works like a movie. You don't connect with the actors on the stage (who are uniformly terrific), you connect with their performances, blown up on the screen, in front of the stage. The score by John Gzowski really adds to the ambiance, and the cinematic feel.
Haddock is a great writer, and one of my favourite television writers in Canada. The script is almost Dickensian in scope, with multiple plot lines, and rich, complex characters. The thing just churns out conflict and tension, providing many hair-raising, seat-grabbing moments, sharp dialogue, and an insightful and provocative view of post-war society in Vancouver.
Similarly, the look of the projections is gorgeous. 1940s post-war Vancouver comes to life. Combined with the wonderful costumes by Nancy Bryant, the show nails a period look and feel.
Still, I walked out of there, wondering why they didn't just make a film. The technology looked good, and worked well, but it did not help deliver a better play, as it does with Lepage. It helped deliver actors in a live movie: technology for its own sake.
This script is a set of converging story lines: all really interesting, and full of wonderfully drawn characters. What it doesn't do well is tie things up: it leaves many story lines open-ended, the way a good writer of serials does. I wanted to know more. I left just slightly unsatisfied. This is perfect when the writer's goal is to have his audience come back, and see the next episode, the following week. It's not the best way to end a play.
Great theatre is cathartic. This is a fine entertainment, but it is not a play, it's a 90 minute television pilot, wonderfully written, by a fine writer, performed by a terrific cast, and beautifully staged by a visual artist, who makes films and images. I hope they get green-lit for a cool-looking series. I promise to watch.
This is absolutely worth seeing. Take it on its own considerable merits, and enjoy it for what it is.
The conceit of the piece is that it is simultaneously a play, and a film noir, taking place in real time, shot with multiple cameras onstage,operated by the actors.
The performers execute their scenes behind a backlit screen, while they appear blown-up, foregrounded, in blue and white, on the screen in Haddock's complex, and intense script.
It looks fabulous: a loving homage to film noir. However, it works like a movie. You don't connect with the actors on the stage (who are uniformly terrific), you connect with their performances, blown up on the screen, in front of the stage. The score by John Gzowski really adds to the ambiance, and the cinematic feel.
Haddock is a great writer, and one of my favourite television writers in Canada. The script is almost Dickensian in scope, with multiple plot lines, and rich, complex characters. The thing just churns out conflict and tension, providing many hair-raising, seat-grabbing moments, sharp dialogue, and an insightful and provocative view of post-war society in Vancouver.
Similarly, the look of the projections is gorgeous. 1940s post-war Vancouver comes to life. Combined with the wonderful costumes by Nancy Bryant, the show nails a period look and feel.
Still, I walked out of there, wondering why they didn't just make a film. The technology looked good, and worked well, but it did not help deliver a better play, as it does with Lepage. It helped deliver actors in a live movie: technology for its own sake.
This script is a set of converging story lines: all really interesting, and full of wonderfully drawn characters. What it doesn't do well is tie things up: it leaves many story lines open-ended, the way a good writer of serials does. I wanted to know more. I left just slightly unsatisfied. This is perfect when the writer's goal is to have his audience come back, and see the next episode, the following week. It's not the best way to end a play.
Great theatre is cathartic. This is a fine entertainment, but it is not a play, it's a 90 minute television pilot, wonderfully written, by a fine writer, performed by a terrific cast, and beautifully staged by a visual artist, who makes films and images. I hope they get green-lit for a cool-looking series. I promise to watch.
This is absolutely worth seeing. Take it on its own considerable merits, and enjoy it for what it is.
Tuesday, October 14, 2014
The Joint is Jumping: LIFE, DEATH & THE BLUES at THEATRE PASSE MURAILLE
On Sunday afternoon, before we went off to our respective Thanksgiving dinners, I headed to Theatre Passe Muraille with a few friends to see LIFE, DEATH and THE BLUES.
Raoul Bhaneja and his fine three piece band (Jake Chisholm, Tom Bona and Chris Banks), team up with the fabulous Divine Brown to share Bhaneja's personal story about his obsessive love for blues music. He's not just a fan: he's been a blues bandleader for 16 years, and has won a Maple Leaf Blues Award.
Bhaneja, a diplo-brat and private school boy, seems an unlikely advocate or frontman for hard-loving, hard living, blues refrains, but, as he explains, the blues speaks to the heart and soul of universal human experience. With an Irish mother, and a South Asian father, he's a "beige" man, not a black one, but he feels the blues in his soul.
He's also a charming performer, and, his unassuming and personable style draws the audience into the story.
Divine Brown makes a compelling foil to the enthusiastic Bhaneja, and an interesting discussion around race, cultural appropriation, and gender ensues between them. Does Bhaneja have the right to sing the blues?
In the end, the music speaks for itself, and the lively performance of the band, with vocals by Brown and Bhaneja (who also plays a mean harmonica) give the show its beating heart.
Bhaeja's passion for his subject and the depth of his knowledge, combined with the mix of projections, story-telling and great live music make this an interesting and fun night out. Divine Brown has a voice that is heaven on earth, and her singing is a great highlight of the show. The night ends with a jam session, which features a special musical guest each night. Sunday it was Danny Marks. The audience loved it!
You've got one week left to grab a ticket, order one of those fancy bourbon "theme" cocktails on offer at the upstairs bar, and see this highly enjoyable show.
LIFE DEATH AND THE BLUES at Theatre Passe Muraille, 16 Ryerson Street, Toronto, Tuesday to Sunday, October 19th. call (416)504 7529 for tickets.
Raoul Bhaneja and his fine three piece band (Jake Chisholm, Tom Bona and Chris Banks), team up with the fabulous Divine Brown to share Bhaneja's personal story about his obsessive love for blues music. He's not just a fan: he's been a blues bandleader for 16 years, and has won a Maple Leaf Blues Award.
Bhaneja, a diplo-brat and private school boy, seems an unlikely advocate or frontman for hard-loving, hard living, blues refrains, but, as he explains, the blues speaks to the heart and soul of universal human experience. With an Irish mother, and a South Asian father, he's a "beige" man, not a black one, but he feels the blues in his soul.
He's also a charming performer, and, his unassuming and personable style draws the audience into the story.
Divine Brown makes a compelling foil to the enthusiastic Bhaneja, and an interesting discussion around race, cultural appropriation, and gender ensues between them. Does Bhaneja have the right to sing the blues?
In the end, the music speaks for itself, and the lively performance of the band, with vocals by Brown and Bhaneja (who also plays a mean harmonica) give the show its beating heart.
Bhaeja's passion for his subject and the depth of his knowledge, combined with the mix of projections, story-telling and great live music make this an interesting and fun night out. Divine Brown has a voice that is heaven on earth, and her singing is a great highlight of the show. The night ends with a jam session, which features a special musical guest each night. Sunday it was Danny Marks. The audience loved it!
You've got one week left to grab a ticket, order one of those fancy bourbon "theme" cocktails on offer at the upstairs bar, and see this highly enjoyable show.
LIFE DEATH AND THE BLUES at Theatre Passe Muraille, 16 Ryerson Street, Toronto, Tuesday to Sunday, October 19th. call (416)504 7529 for tickets.
Thursday, October 2, 2014
AROMAS at THE RED SANDCASTLE THEATRE
I admit to having felt some trepidation before seeing AROMAS last weekend. Oh great, I thought, a middle-aged man writes about a a woman doing sex work.
I was wrong, wrong, wrong. Andrew Faiz has written and directed a nuanced, thoughtful, and intellectually challenging monologue about a woman who makes her living being whoever her clients need her to be to get where they want to go. Her racks of costumes are right on the stage, for us to see. We are invited into the lady's bedroom, which, for her, is a kind of stage. She sees her work as a performance, a variation, of a sort, on her former career as a skater in ice dancing shows.
Andy Fraser gives a very subtle and controlled performance, gently, but decisively taking the audience on a journey that illuminates her personal history, her current working life, and how she came to be where she is. Her acting choices are terrific.
I also loved the simple, elegant set by Brandon Klieman, consisting of floor-to-ceiling, old-school, hotel room keys, behind a filmy panel of curtain. The set reinforces the show's invitation to explore who we are when we are in an intimate space with someone to whom we give ourselves, with whom we are free to completely be ourselves.
It is the great gift of the script that it passes no judgement, offers no sermons, gives no lectures. The protagonist simply looks in a clear eyed and compassionate way at the way things are for her, for her clients, for her parents, for a woman who nearly killed her, for her former colleagues from her skating life, and for the other women she knows who do what she now does for a living.
Many people write about this subject matter, but few do it well. AROMAS is a well-written play, well-directed and very well performed.
This is the final weekend of performances of the elegant and sharp-minded production. Go with a good friend. You'll have a great conversation afterwards.
I also saw Richard Linklater's BOYHOOD a few weeks back. If you haven't made it into a cinema to see it yet, I highly recommend it.
I'm going to the SHAW FESTIVAL tomorrow and to NUIT BLANCHE on SATURDAY. We'll talk again soon.
I was wrong, wrong, wrong. Andrew Faiz has written and directed a nuanced, thoughtful, and intellectually challenging monologue about a woman who makes her living being whoever her clients need her to be to get where they want to go. Her racks of costumes are right on the stage, for us to see. We are invited into the lady's bedroom, which, for her, is a kind of stage. She sees her work as a performance, a variation, of a sort, on her former career as a skater in ice dancing shows.
Andy Fraser gives a very subtle and controlled performance, gently, but decisively taking the audience on a journey that illuminates her personal history, her current working life, and how she came to be where she is. Her acting choices are terrific.
I also loved the simple, elegant set by Brandon Klieman, consisting of floor-to-ceiling, old-school, hotel room keys, behind a filmy panel of curtain. The set reinforces the show's invitation to explore who we are when we are in an intimate space with someone to whom we give ourselves, with whom we are free to completely be ourselves.
It is the great gift of the script that it passes no judgement, offers no sermons, gives no lectures. The protagonist simply looks in a clear eyed and compassionate way at the way things are for her, for her clients, for her parents, for a woman who nearly killed her, for her former colleagues from her skating life, and for the other women she knows who do what she now does for a living.
Many people write about this subject matter, but few do it well. AROMAS is a well-written play, well-directed and very well performed.
This is the final weekend of performances of the elegant and sharp-minded production. Go with a good friend. You'll have a great conversation afterwards.
I also saw Richard Linklater's BOYHOOD a few weeks back. If you haven't made it into a cinema to see it yet, I highly recommend it.
I'm going to the SHAW FESTIVAL tomorrow and to NUIT BLANCHE on SATURDAY. We'll talk again soon.
Tuesday, August 19, 2014
DUSK DANCES or How I Spent My Summer Vacation
It's coming up to mid-August. The summer is precariously close to over.
I spent a good chunk of June, July and early August, rehearsing, and then, dancing, in a piece called INCANDESCENT, choreographed by Kate Franklin and Meredith Thompson. The work was part of DUSK DANCES, an annual outdoor performance of contemporary dance, now completing its 20th year. The Toronto leg of the provincial tour, took place in Withrow Park, from August 4-10th.
I was part of a group of about 40 people. Five professional dancers: Danielle Baskerville, Tyler Gledhill, Molly Johnson, Pugla Muchochoma and Meredith Thompson, were joined onstage, by a crew of enthusiastic non-professionals: young dancers in training, a few of their parents, some former dancers, a gymnastics teacher, a couple of actors, some retired professionals, and mostly just regular folks, ranging in age from nine to about 79. Together, we committed to spend one night a week and then, ten pretty intense days, teching and performing a show that involved a big dance corps and a community choir. Our crew only performed in Toronto, although the piece has been staged by other groups, in Vancouver, Peterborough and Haliburton, in other years.
I began my career in the theatre in a similar enterprise. My hometown of Winnipeg has a terrific outdoor musical theatre, Rainbow Stage. The leads are generally professional actors, and it is a full up professional, unionized theatre. The chorus is mostly comprised of actors and dancers in training, and a bunch of dedicated amateurs. Winnipeg is full of well-trained choral singers, music teachers, ballet and modern dance students, who moonlight in musicals and opera choruses. The results are generally pretty good.
Those summers spent singing, and dancing in the park, the friendships I made, and the lessons I learned about being a performer, drew me to try and spend my adult life in the performing arts.
There are few feelings to compare with the joy of performing for an audience, when it is going well.
I've been way-laid, and sidetracked a few times, but performing remains one of my happy places, and dancing in the chorus of INCANDESCENT last week, again reminded me of the fun of being in the chorus of a big show, free of the worries of producing or taking the lead, just being there for the joy of dancing with, and for other people.
One of the reasons I decided to participate in DUSK DANCES, was to challenge myself to learn choreography, something I haven't had to do, without singing at the same time, in many, many years.
The nine-year olds can learn anything in a hurry, it seemed. Me, not so much! My middle-aged brain and body got a decent work-out from the process of memorizing those dance sequences, not just with my brain, but with, and in, my body. Believe me, repetition IS good. Finally getting it down cold, felt like a real accomplishment.
As I looked around the bar at our closing night party, I thought about all the other closing nights I've attended, and how I cherish the sense of community and camaraderie, among those who share a love of dance and theatre. There had been great pre-show conversations, pub nights, a pot-luck picnic, daily emails, a pre-show happy dance with sparklers, and daily quotes of inspiration, pre-performance, from Meredith and Kate. Old friends came to see me dance. There were lots of post-show hugs. The after-glow from all that shared joy onstage, and off, kept me warm on the late-night bike rides home.
That week dancing in the park felt blessed. We got good press! The predicted rain held off. My first great niece arrived safely into the world on the Wednesday, a moment of great joy. On the last night, a full moon rose high above us, when we carried our candle-lit jars into the field to begin the dance, one last time.
I spent a good chunk of June, July and early August, rehearsing, and then, dancing, in a piece called INCANDESCENT, choreographed by Kate Franklin and Meredith Thompson. The work was part of DUSK DANCES, an annual outdoor performance of contemporary dance, now completing its 20th year. The Toronto leg of the provincial tour, took place in Withrow Park, from August 4-10th.
I was part of a group of about 40 people. Five professional dancers: Danielle Baskerville, Tyler Gledhill, Molly Johnson, Pugla Muchochoma and Meredith Thompson, were joined onstage, by a crew of enthusiastic non-professionals: young dancers in training, a few of their parents, some former dancers, a gymnastics teacher, a couple of actors, some retired professionals, and mostly just regular folks, ranging in age from nine to about 79. Together, we committed to spend one night a week and then, ten pretty intense days, teching and performing a show that involved a big dance corps and a community choir. Our crew only performed in Toronto, although the piece has been staged by other groups, in Vancouver, Peterborough and Haliburton, in other years.
I began my career in the theatre in a similar enterprise. My hometown of Winnipeg has a terrific outdoor musical theatre, Rainbow Stage. The leads are generally professional actors, and it is a full up professional, unionized theatre. The chorus is mostly comprised of actors and dancers in training, and a bunch of dedicated amateurs. Winnipeg is full of well-trained choral singers, music teachers, ballet and modern dance students, who moonlight in musicals and opera choruses. The results are generally pretty good.
Those summers spent singing, and dancing in the park, the friendships I made, and the lessons I learned about being a performer, drew me to try and spend my adult life in the performing arts.
There are few feelings to compare with the joy of performing for an audience, when it is going well.
I've been way-laid, and sidetracked a few times, but performing remains one of my happy places, and dancing in the chorus of INCANDESCENT last week, again reminded me of the fun of being in the chorus of a big show, free of the worries of producing or taking the lead, just being there for the joy of dancing with, and for other people.
One of the reasons I decided to participate in DUSK DANCES, was to challenge myself to learn choreography, something I haven't had to do, without singing at the same time, in many, many years.
The nine-year olds can learn anything in a hurry, it seemed. Me, not so much! My middle-aged brain and body got a decent work-out from the process of memorizing those dance sequences, not just with my brain, but with, and in, my body. Believe me, repetition IS good. Finally getting it down cold, felt like a real accomplishment.
As I looked around the bar at our closing night party, I thought about all the other closing nights I've attended, and how I cherish the sense of community and camaraderie, among those who share a love of dance and theatre. There had been great pre-show conversations, pub nights, a pot-luck picnic, daily emails, a pre-show happy dance with sparklers, and daily quotes of inspiration, pre-performance, from Meredith and Kate. Old friends came to see me dance. There were lots of post-show hugs. The after-glow from all that shared joy onstage, and off, kept me warm on the late-night bike rides home.
That week dancing in the park felt blessed. We got good press! The predicted rain held off. My first great niece arrived safely into the world on the Wednesday, a moment of great joy. On the last night, a full moon rose high above us, when we carried our candle-lit jars into the field to begin the dance, one last time.
INCANDESCENT needs to take place at twilight. We lost two minutes of light each evening. In a week, it would have been be too dark to perform the piece at 9:15 PM.
Time and live performance are both exquisitely, and achingly ephemeral. I keep my programs. My opening night card from Meredith and Kate is still on my dresser. This time, I even bought a t-shirt.
Really, what I have to keep from all my years of performing, are the memories of the happiness I've felt when doing it, and the memories of the happiness I shared with others, who were present for those moments, either onstage, or backstage with me, or in the house. Whether I'm in the audience, or on the stage, I leave the theatre, holding only a few pieces of paper, my memories and my thoughts.
Our revels now have ended. As the end of summer, 2014 draws to a close, the memories I have of my warm nights spent dusk dancing in Withrow Park, are cherished, and will be for years to come.
Time and live performance are both exquisitely, and achingly ephemeral. I keep my programs. My opening night card from Meredith and Kate is still on my dresser. This time, I even bought a t-shirt.
Really, what I have to keep from all my years of performing, are the memories of the happiness I've felt when doing it, and the memories of the happiness I shared with others, who were present for those moments, either onstage, or backstage with me, or in the house. Whether I'm in the audience, or on the stage, I leave the theatre, holding only a few pieces of paper, my memories and my thoughts.
Sunday, July 20, 2014
What I'd Like to Watch in Winnipeg at the Fringe This Week
OK, Winnipeg I know you like to watch and I wouldn't want you any other way. Winnipegers are great audiences.
How I wish I was at home this week seeing friends and family and hanging out and catching shows at the Winnipeg Fringe.
The Winnipeg festival is markedly different than Toronto. Far more touring shows play Winnipeg ( and points further West) than Toronto and this gives Winnipeg Festival goers an opportunity not only to enjoy the fine local talent pool but performers from across the country and around the world.
I'm mostly going to talk about road companies here as I am not as plugged into what Winnipeg artists are doing at the festival this year.
If I were in Winnipeg, this is some of what I'd be seeing this week:
Bruce Horak in THIS IS CANCER because it is one of the best shows I've ever seen anywhere by anyone, period. It's an unforgettable theatre experience. Get a ticket and go.
Ken Brown and Theatre Public are in Winnipeg with ANATOLIA SPEAKS about a Bosnian conflict survivor relocated to Canada. A passionate script from a fave writer and skilled director combined with a great performance by Candice Fiorentino make this a must-see.
MAGIC UNICORN ISLAND is written and performed by Jayson Macdonald ( GIANT INVISIBLE ROBOT, FALL FAIR) and that's more than enough to get me in the theatre.
FAKE NEWS FANGIRL by Sharilyn Johnston is an utterly original well delivered monologue about late night talk shows, fan culture, intelligence, fear and ambition. I've seen this show twice. I loved it both times and I learned something. Directed by Laura Anne Harris (Pitch Blonde).
THE CANTEBURY TALES by Erik de Waal who is a great storyteller. The chocolate-voiced spell-spinner always takes me on a magical trip. Erik also has AFRICAN FOLK TALES with him if you've got children to entertain this year.
SOUND and FURY brings HAMLET and JULIET to Winnipeg. The divine madness of this bunch of talented fools always leaves me smiling. Go have a laugh for me.
Shelby Bond is so delightful as a performer and this year he's doing ONE MAN BACK TO THE FUTURE.
Tim C. Murphy is doing a story called THE HOBBLING BUDDHAS about a 10 day silent meditation retreat. I've seen Tim before and he always takes me someplace I've never been before.
SAM MULLINS is in Winnipeg this week. I finally got to see him at NSTF here in Toronto last winter. That monologue was picked up for broadcast by NPR. Go: you're in for a real treat and you'll be able to say you saw him when.
I saw SEX, RELIGION and OTHER HANG-UPS in Toronto and it was fabulous. James sold out here and I bet he'll sell out in Winnipeg when word gets out about how touching, honest and flat-out hilarious this show is. Chris Gibbs directed. Need I say more?
PENNY ASHTON is doing a Jane Austen mash-up called PROMISES and PROMISCUITY. I love Penny and from all reports this is good show from the talented satirist and cheekily entertaining performer.
Monster Theatre is doing NO TWEED TOO TIGHT and WHO KILLED GERTRUDE CRUMP?
CRUMP was inspired mayhem and a ton of witty fun and I'm sure NO TWEED, a drunk detective satire of 70's television icons featuring Ryan Gladstone will be a hoot.
Two shows that I didn't get to see last week in Toronto but that had great buzz and are in Winnipeg this week are AIDEN FLYNN LOST HIS BROTHER SO HE MAKES ANOTHER by THEATRE HOWL from Saskatoon and Mark Shyzer in GREAT BATTLES IN HISTORY which had great press about both the writing and the performance. I'd be checking them out.
Christel Bartlse is getting married this summer but that hasn't kept her from Fringe touring. She's a very charming performer and she's brought a relationship comedy SIGNIFICANT ME to Winnipeg. I hear she's already got a 5 star review for it, so I'd get a ticket fast.
RibbetRepublic is doing BEST PICTURE with a massive cast of Fringe stalwarts including Jon Patterson, a man who can do no wrong on a stage. This should be a blast.
DIE ROTEN PUNKTE is back with EUROTRASH. Words fail to describe how sad I am to miss two of my favourite musician/clowns. Go laugh for me and will someone please bring me back a banana t-shirt?
Like roller derby? Want to see a funny, feel-good show? Check out Nancy Kenny in ROLLER DERBY SAVED MY SOUL. I saw it last week and the audience was eating out of her hand.
Kim Zeglinski and Heather Witherden, my old BREAST FRIENDS buddies both have shows this week. Kim is talking about love, life and parenting and career mid-life in a solo show, MITTELSCHMERZ. I'm sure a lot of you will be able to relate to the material. Heather's show is called CHUBRUB and knowing Heather, it will be naughty and fun.
Chris Gibbs, Randy Rutherford, Keir Cutler and Rob Gee are all reprising hits. If you didn't see LIKE FATHER, LIKE SON, SORRY (or if you're like me and there's just never enough of Chris' brand of humour to go around) or you missed FRUITCAKE (or you just need a Rob Gee fix) or SINGING AT THE EDGE OF THE WORLD (a show I love) or you've never seen TEACHING SHAKESPEARE (Keir's first hit) they are all worth seeing.
Mike Delamont is back with GOD IS A SCOTTISH DRAG QUEEN: THE SECOND COMING. I'd be back to see Mike in a flash. Few performers made me laugh as hard as he did last year.
Martin Dockery is doing THE SURPRISE which I missed in Edmonton. Insiders say it is his best show and from the five-star solo performer, that's saying something.
As I mentioned before, JEM ROLLS has a great show this year also.
Finally, my beloved ex, John D. Huston is doing THE SCREWTAPE LETTERS. John is the bomb at this kind of literate satire and I'm sure this show will rock. I'd go see him and I hope you will too.
Have fun Winnipeg. I'll be home in December to workshop a new theatre/dance piece I'm developing with Winnipeg's Contemporary Dancers. More on that later.
How I wish I was at home this week seeing friends and family and hanging out and catching shows at the Winnipeg Fringe.
The Winnipeg festival is markedly different than Toronto. Far more touring shows play Winnipeg ( and points further West) than Toronto and this gives Winnipeg Festival goers an opportunity not only to enjoy the fine local talent pool but performers from across the country and around the world.
I'm mostly going to talk about road companies here as I am not as plugged into what Winnipeg artists are doing at the festival this year.
If I were in Winnipeg, this is some of what I'd be seeing this week:
Bruce Horak in THIS IS CANCER because it is one of the best shows I've ever seen anywhere by anyone, period. It's an unforgettable theatre experience. Get a ticket and go.
Ken Brown and Theatre Public are in Winnipeg with ANATOLIA SPEAKS about a Bosnian conflict survivor relocated to Canada. A passionate script from a fave writer and skilled director combined with a great performance by Candice Fiorentino make this a must-see.
MAGIC UNICORN ISLAND is written and performed by Jayson Macdonald ( GIANT INVISIBLE ROBOT, FALL FAIR) and that's more than enough to get me in the theatre.
FAKE NEWS FANGIRL by Sharilyn Johnston is an utterly original well delivered monologue about late night talk shows, fan culture, intelligence, fear and ambition. I've seen this show twice. I loved it both times and I learned something. Directed by Laura Anne Harris (Pitch Blonde).
THE CANTEBURY TALES by Erik de Waal who is a great storyteller. The chocolate-voiced spell-spinner always takes me on a magical trip. Erik also has AFRICAN FOLK TALES with him if you've got children to entertain this year.
SOUND and FURY brings HAMLET and JULIET to Winnipeg. The divine madness of this bunch of talented fools always leaves me smiling. Go have a laugh for me.
Shelby Bond is so delightful as a performer and this year he's doing ONE MAN BACK TO THE FUTURE.
Tim C. Murphy is doing a story called THE HOBBLING BUDDHAS about a 10 day silent meditation retreat. I've seen Tim before and he always takes me someplace I've never been before.
SAM MULLINS is in Winnipeg this week. I finally got to see him at NSTF here in Toronto last winter. That monologue was picked up for broadcast by NPR. Go: you're in for a real treat and you'll be able to say you saw him when.
I saw SEX, RELIGION and OTHER HANG-UPS in Toronto and it was fabulous. James sold out here and I bet he'll sell out in Winnipeg when word gets out about how touching, honest and flat-out hilarious this show is. Chris Gibbs directed. Need I say more?
PENNY ASHTON is doing a Jane Austen mash-up called PROMISES and PROMISCUITY. I love Penny and from all reports this is good show from the talented satirist and cheekily entertaining performer.
Monster Theatre is doing NO TWEED TOO TIGHT and WHO KILLED GERTRUDE CRUMP?
CRUMP was inspired mayhem and a ton of witty fun and I'm sure NO TWEED, a drunk detective satire of 70's television icons featuring Ryan Gladstone will be a hoot.
Two shows that I didn't get to see last week in Toronto but that had great buzz and are in Winnipeg this week are AIDEN FLYNN LOST HIS BROTHER SO HE MAKES ANOTHER by THEATRE HOWL from Saskatoon and Mark Shyzer in GREAT BATTLES IN HISTORY which had great press about both the writing and the performance. I'd be checking them out.
Christel Bartlse is getting married this summer but that hasn't kept her from Fringe touring. She's a very charming performer and she's brought a relationship comedy SIGNIFICANT ME to Winnipeg. I hear she's already got a 5 star review for it, so I'd get a ticket fast.
RibbetRepublic is doing BEST PICTURE with a massive cast of Fringe stalwarts including Jon Patterson, a man who can do no wrong on a stage. This should be a blast.
DIE ROTEN PUNKTE is back with EUROTRASH. Words fail to describe how sad I am to miss two of my favourite musician/clowns. Go laugh for me and will someone please bring me back a banana t-shirt?
Like roller derby? Want to see a funny, feel-good show? Check out Nancy Kenny in ROLLER DERBY SAVED MY SOUL. I saw it last week and the audience was eating out of her hand.
Kim Zeglinski and Heather Witherden, my old BREAST FRIENDS buddies both have shows this week. Kim is talking about love, life and parenting and career mid-life in a solo show, MITTELSCHMERZ. I'm sure a lot of you will be able to relate to the material. Heather's show is called CHUBRUB and knowing Heather, it will be naughty and fun.
Chris Gibbs, Randy Rutherford, Keir Cutler and Rob Gee are all reprising hits. If you didn't see LIKE FATHER, LIKE SON, SORRY (or if you're like me and there's just never enough of Chris' brand of humour to go around) or you missed FRUITCAKE (or you just need a Rob Gee fix) or SINGING AT THE EDGE OF THE WORLD (a show I love) or you've never seen TEACHING SHAKESPEARE (Keir's first hit) they are all worth seeing.
Mike Delamont is back with GOD IS A SCOTTISH DRAG QUEEN: THE SECOND COMING. I'd be back to see Mike in a flash. Few performers made me laugh as hard as he did last year.
Martin Dockery is doing THE SURPRISE which I missed in Edmonton. Insiders say it is his best show and from the five-star solo performer, that's saying something.
As I mentioned before, JEM ROLLS has a great show this year also.
Finally, my beloved ex, John D. Huston is doing THE SCREWTAPE LETTERS. John is the bomb at this kind of literate satire and I'm sure this show will rock. I'd go see him and I hope you will too.
Have fun Winnipeg. I'll be home in December to workshop a new theatre/dance piece I'm developing with Winnipeg's Contemporary Dancers. More on that later.
Tuesday, July 15, 2014
Who Needs TICKETS? Previews for Winnipeg and a review of the 2014 Toronto Fringe
The Toronto Fringe ended on Sunday night as it always does, with a party.
I always feel sad the next day.
Like Christmas, an event that takes place in a fortnight is planned and saved for and worked for much of the year and seems to be done in an instant.
I saw most of what was on my list, made some happy discoveries and missed some things I heard great news of and wished I'd seen. I got to eighteen shows which was not bad for a week in which I worked full time. The shows below were a few of my favourites.
The two best happy accidents: TRUE by Rose Laborde. My friend and I were on our way to dinner at the Drake when we came a cross a line-up outside a show. "I've heard good things about this," I said.
"You wanna go?" he said. It was sold out. A man in the line came up to us and said, "Do you want to buy my tickets?" My friend bought them for us and we went and I'm very glad we did. It was one of the best written, best acted, best directed new plays I've seen in Toronto this year. Five actors in a tiny (30 seat) site specific venue did a galvanizing show about three siblings (and one of their spouses) coming to terms with a messed-up parent and an ugly past.
The play cut so close to the bone I walked out of the theatre in tears. I sure as hell didn't have that dad, but I have loved people who did and I saw what it did to them. I hope some artistic director in town will pick this show up for a remount. One of the ADs from the Factory was in the line-up the night I was there. Fingers crossed.
The second was a beer tent happenstance. I sat down with Fringe goddess Alex Dallas, Jem Rolls and a couple from New Zealand I had never met. The couple were doing MR AND MRS ALEXANDER, SIDESHOW and PSYCHICS. Lizzie Tollemache and David Ladderman were very charming and fun and invited me to see their sold out show on Saturday night. Winnipeg, get your butts over to the West End Cultural Centre. These two are a total treat and this show is unlike anything I've seen at the Fringe in many years. Part magic, part mind-reading, part mystery and all fun.
If you're in Winnipeg also check out WHO KILLED GERTRUDE CRUMP? Tara Travis has charm and aplomb to spare and she made a byzantine plot and twelve characters in a PBS style British murder mystery (Agatha Christie makes an appearance but I'm not telling you anything else) come to life on a lovely set.
I enjoyed THE DEVIL'S CIRCUS, by Winnipeg-based, The Wishes Mystical Puppet Company who did a pop-rock musical about Orpheus and Eurydice with trick marionettes and lots of music. It's a fun take on an old story and really gorgeous to look at. They're coming home with this. It's well worth a look.
Jem Rolls may be in the best show he's ever written, with JEM ROLLS ONE MAN TRAFFIC JAM and that's saying something. Brilliant writing, full of thought provoking ideas and luminous imagery is coupled with Jem's trademark flat out performance. Jem is also in Winnipeg this week.
Two shows not coming down the road I thought were good were POTOSI and PARALLEL PLAY.
POTOSI takes place in a Canadian-run mining town in a corrupt outback somewhere. It was a thought-provoking and compelling drama and it was well worth seeing though the tone was uneven and the woman lawyer character is a bit problematic as she's currently constructed. I hope they get a chance to twig it with a good dramaturge and remount it somewhere, because it certainly has good bones.
One of my other favourite shows was PARALLEL PLAY (also not touring alas) a really smart sketch comedy show that made me laugh and wince in recognition. Elvira Kurt and Megan Fahlenbock are fine writers and terrific performers. It was a really enjoyable show.
This was a great festival. There was a lot of good work, some great parties and as usual, the Toronto Fringe was well run and well-organized. Props to the staff and volunteers on a great job.
The only fly in the ointment this week was the "new and improved" ticketing system which was great for the festival, which now makes $2 out of $12 on every advance ticket and gets to keep the pass money that patrons pay in advance, up front, if the patrons can't use their passes because the shows they wanted to see were sold out.
I get that the festival needs money and I get that this can be an advantage to hot-selling shows, though it isn't much of one really. I have produced two five-star sell outs, one here and one in Winnipeg and 50% tickets available at the door didn't hurt me one bit. I still sold out. Yes, patrons with passes paid me less than patrons who just paid for a ticket. I'm fine with that. The pass holders come back year after year, like subscribers who also get a deal. Is there a theatre in town who doesn't want more subscribers?
I have no problem with making 100% of the tickets available in advance, but a big problem with penalizing the most dedicated paying audience members for buying a pass by refusing to take those passes at the box office for advance tickets.
The festival really put a lot of spin on this new system: "better for performers" and "the same as Edmonton" and "lots of other shows to see today, folks" but we all know what it has done is penalized the audience to improve the festival's bottom line and effectively raised the price of a seat and kept the raise for the festival as opposed to passing it on to the performers.
No matter what you call it ( a box office surcharge) or how you want to spin or slice it, 100% of the box office no longer goes to the performers. $2 of every advance ticket goes to the festival. Yes Edmonton does it but what it really means is Edmonton and now Toronto both gets fees from the performers ( about $700 a show) as well as chunk of their box office.
The Winnipeg Fringe takes discounted passes at the box office for advance tickets. So does TIFF. Come on TORONTO FRINGE, don't punish our best customers by offering them a back-handed deal. Take advance passes at the box office, forego some revenue ( and yes, the performers will get $8.80 instead of $10 for a ticket to a sold-out show) and play fair with your patrons. The performers and the festival both absorb the cost of VIP tickets because those patrons donate money or in-kind service to the festival. Those pass-holders can get advance tickets with their passes.
Also if the festival is going to go to this system of taking a box office fee, it needs to STOP saying ALL the box office revenue goes to the performers when it solicits audience donations because it is no longer true.
I get that the festival needs money to operate but it needs to do it in a way that is honest and doesn't suck for its most loyal audience members. I'd rather you charged us all $1 per drink more for alcohol.
Have fun at the Winnipeg Fringe, my Western readers. I'm sad to not be there this week. Maybe next year.
I always feel sad the next day.
Like Christmas, an event that takes place in a fortnight is planned and saved for and worked for much of the year and seems to be done in an instant.
I saw most of what was on my list, made some happy discoveries and missed some things I heard great news of and wished I'd seen. I got to eighteen shows which was not bad for a week in which I worked full time. The shows below were a few of my favourites.
The two best happy accidents: TRUE by Rose Laborde. My friend and I were on our way to dinner at the Drake when we came a cross a line-up outside a show. "I've heard good things about this," I said.
"You wanna go?" he said. It was sold out. A man in the line came up to us and said, "Do you want to buy my tickets?" My friend bought them for us and we went and I'm very glad we did. It was one of the best written, best acted, best directed new plays I've seen in Toronto this year. Five actors in a tiny (30 seat) site specific venue did a galvanizing show about three siblings (and one of their spouses) coming to terms with a messed-up parent and an ugly past.
The play cut so close to the bone I walked out of the theatre in tears. I sure as hell didn't have that dad, but I have loved people who did and I saw what it did to them. I hope some artistic director in town will pick this show up for a remount. One of the ADs from the Factory was in the line-up the night I was there. Fingers crossed.
The second was a beer tent happenstance. I sat down with Fringe goddess Alex Dallas, Jem Rolls and a couple from New Zealand I had never met. The couple were doing MR AND MRS ALEXANDER, SIDESHOW and PSYCHICS. Lizzie Tollemache and David Ladderman were very charming and fun and invited me to see their sold out show on Saturday night. Winnipeg, get your butts over to the West End Cultural Centre. These two are a total treat and this show is unlike anything I've seen at the Fringe in many years. Part magic, part mind-reading, part mystery and all fun.
If you're in Winnipeg also check out WHO KILLED GERTRUDE CRUMP? Tara Travis has charm and aplomb to spare and she made a byzantine plot and twelve characters in a PBS style British murder mystery (Agatha Christie makes an appearance but I'm not telling you anything else) come to life on a lovely set.
I enjoyed THE DEVIL'S CIRCUS, by Winnipeg-based, The Wishes Mystical Puppet Company who did a pop-rock musical about Orpheus and Eurydice with trick marionettes and lots of music. It's a fun take on an old story and really gorgeous to look at. They're coming home with this. It's well worth a look.
Jem Rolls may be in the best show he's ever written, with JEM ROLLS ONE MAN TRAFFIC JAM and that's saying something. Brilliant writing, full of thought provoking ideas and luminous imagery is coupled with Jem's trademark flat out performance. Jem is also in Winnipeg this week.
Two shows not coming down the road I thought were good were POTOSI and PARALLEL PLAY.
POTOSI takes place in a Canadian-run mining town in a corrupt outback somewhere. It was a thought-provoking and compelling drama and it was well worth seeing though the tone was uneven and the woman lawyer character is a bit problematic as she's currently constructed. I hope they get a chance to twig it with a good dramaturge and remount it somewhere, because it certainly has good bones.
One of my other favourite shows was PARALLEL PLAY (also not touring alas) a really smart sketch comedy show that made me laugh and wince in recognition. Elvira Kurt and Megan Fahlenbock are fine writers and terrific performers. It was a really enjoyable show.
This was a great festival. There was a lot of good work, some great parties and as usual, the Toronto Fringe was well run and well-organized. Props to the staff and volunteers on a great job.
The only fly in the ointment this week was the "new and improved" ticketing system which was great for the festival, which now makes $2 out of $12 on every advance ticket and gets to keep the pass money that patrons pay in advance, up front, if the patrons can't use their passes because the shows they wanted to see were sold out.
I get that the festival needs money and I get that this can be an advantage to hot-selling shows, though it isn't much of one really. I have produced two five-star sell outs, one here and one in Winnipeg and 50% tickets available at the door didn't hurt me one bit. I still sold out. Yes, patrons with passes paid me less than patrons who just paid for a ticket. I'm fine with that. The pass holders come back year after year, like subscribers who also get a deal. Is there a theatre in town who doesn't want more subscribers?
I have no problem with making 100% of the tickets available in advance, but a big problem with penalizing the most dedicated paying audience members for buying a pass by refusing to take those passes at the box office for advance tickets.
The festival really put a lot of spin on this new system: "better for performers" and "the same as Edmonton" and "lots of other shows to see today, folks" but we all know what it has done is penalized the audience to improve the festival's bottom line and effectively raised the price of a seat and kept the raise for the festival as opposed to passing it on to the performers.
No matter what you call it ( a box office surcharge) or how you want to spin or slice it, 100% of the box office no longer goes to the performers. $2 of every advance ticket goes to the festival. Yes Edmonton does it but what it really means is Edmonton and now Toronto both gets fees from the performers ( about $700 a show) as well as chunk of their box office.
The Winnipeg Fringe takes discounted passes at the box office for advance tickets. So does TIFF. Come on TORONTO FRINGE, don't punish our best customers by offering them a back-handed deal. Take advance passes at the box office, forego some revenue ( and yes, the performers will get $8.80 instead of $10 for a ticket to a sold-out show) and play fair with your patrons. The performers and the festival both absorb the cost of VIP tickets because those patrons donate money or in-kind service to the festival. Those pass-holders can get advance tickets with their passes.
Also if the festival is going to go to this system of taking a box office fee, it needs to STOP saying ALL the box office revenue goes to the performers when it solicits audience donations because it is no longer true.
I get that the festival needs money to operate but it needs to do it in a way that is honest and doesn't suck for its most loyal audience members. I'd rather you charged us all $1 per drink more for alcohol.
Have fun at the Winnipeg Fringe, my Western readers. I'm sad to not be there this week. Maybe next year.
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