The fall season closes with Urban Tales @ Centaur

Well just when I thought it was over, the fall theatre season slides into the holiday season with Urban Tales @ Centaur. Presented in the the stark bare smaller performance space all the trimmings are left outside as the under garnished set consists of a simple riser and a carpet, occasionally we have a chair. On the upper level a guitar is plucked to some back ground music takes on familiar Christmas tunes.

The series of adult flavored short stories are well written and presented by the storytellers one-by one with transition music between each. Then there is an intermission. And then more stories. I liked all of the 'tales' some of which are translations from French originals and all are set in Montreal during the 'holiday season'. The performers do a very good job of presenting, admittedly a few stronger than others, but overall good quality.

Where this highly publicized yet very poorly attended (There was -25 in the audience the Saturday evening I attended.) production falls short is on ambiance. The space begs for some decorations and the venue for some holiday season cheer. One has the feeling that we are visiting a funeral parlor to pay our last respects to an acquaintance or neighbor who has met with an unfortunate and ill timed yet expected demise. In the effort to not leave out any of the 'Faiths' or to offend anyone, they (the religions) are all pretty much left out begging the question, what's the point?

Place the same production in a cabaret setting, with some seasonal decorations, a few carolers, maybe a small band, and a bar, with a maximum $10. fee at the door and a donation of a non-perishable item for a local charity and this would be a much more appropriate (and price marketed) setting. One can only imagine the budget allocated to such a production; the promotional budget alone based on the print ads I've seen could fund an entire mount for an independent company. Maybe it's the Scrooge in me or just the B***h, however 'fabulous' coming OUT. Happy F***ing holidays! (Fabuing)?!

DON'T drink & drive!

See you in the New Year!

La Bella Luna or a 'bad moon rising'?

Written & directed by Patrick de Moss, La Bella Luna is a very long play in serious need of an edit...to cut down the 2:30 running time down to 1:30. And the intermission of and extra +15 minutes, is it really - necessary? The over indulgent miss-use of pop rock lyrics only serves to drag the scenes down and becomes tedious and gets very old very fast.

Transitions are far too many and very poorly coordinated...
The blocking lacks logic and efficiency.

The production begs for direction to clean it up.

Dawn Ford - Laura/Ash is equally excellent in her interpretation of both roles and delivers an overall standout performance among this ensemble.

Jonathan Marquis - Jack/Jean is very entertaining and utterly delicious in his portrayal of Jean, however he falls considerably short as Jack with a lack of focus and development.

Even good actors can still deliver good performances; There are some great yet sporadic moments to be savoured here but the overall production is too ambitious for even this large ensemble cast to maintain and hold together.

Even if this was a film about to be released on DvD, I would have to advise - Skip It!

The Importance of Being Earnest @ McGill's Moyse Hall

One of my personal all time favorite plays, Oscar Wilde's "The Importance of Being Earnest" is playing at the beautiful Moyse Hall, McGill University to November 29. Performances start at 7:30pm so plan to arrive early for the long walk up McGill College and the campus path to the Arts Bldg. 853 Sherbrooke St. W. Reservations and information www. mcgill.ca/moyse And the ticket price is very affordable in these troubled economic times.

The performance space is perfect for this late 19th century period piece, and all seats are good viewing. There are 2 intermissions so it does run a bit long for the short 3 act play. Written with 4 acts it was cut down to 3 when it was originally presented to the public and this is the more popular version, although the 2002 film with Rupert Everett and Colin Firth followed the 4 act format. However, even with the two breaks, time flies by with the quick reparté, rapid delivery, and quick pacing of the production.

The costumes are a delight and the set and lighting design are adequate for the production. With the exception of one miss-cast lead role the actors are overall well cast and suited to their roles. Performances of note are delivered by Elana Dunkelmen as the feisty Lady Bracknell and Jessica B. Hill as a saucy Gwendolen Fairfax. It is Brian Beckett who lands a bullseye with his interpretation of Algernon Moncrieff. Beckett's unique expression, use of physicality, and impeccable comedic timing make him a perfect fit for this otherwise miss-fit character, and he delivers a performance worthy of MECCA award recognition.

Faults with the production, apart from the 2 intermissions; 1 could have easily been sufficient by cutting out the 1st one; The back drop curtain could have been kept down through act 1, keeping the sitting room more intimate, and thereby allowing for the garden scenery for act 2 preset behind it. The set in act 1 was too spread out S.L. across to S.R. Apartments in London in this period were very close quarters, small and intimate. The characters are spread too thinly across the stage making it more difficult for their interaction and for the audience to follow the conversation. The biggest flaw is the miss-casting of the character John Worthing aka Ernest, in the title lead role. A faulty performance in so many ways: physical stance and basic posture, vocal projection, accent, visibly searching for the lines, and a lack of overall charisma and chemistry with the fellow actors, he came across as if he wished he could be anywhere else but in this moment. Not sure if it is a directors' error or due to a lack of appropriate talent to pull out of the pool, this is one big mistake.

However, Dee Arr still says Go See It!

Othello @ McCord Museum to Nov. 29.

Created in 2000 Persephone Productions mandate is to provide a quality work experience to young theatre artists. For example, in this production of William Shakespeare's Othello, up-and-coming fashion designer Raina-Clair Gillis gives the costumes her stylized flair, and James Keenan Campbell a first-year McGill student contributes an original music score. Unfortunately this is where most of the ‘quality’ of ‘the experience’ ends for these young artists in this production of the Bard’s classic play of deception and revenge.

To quote Brett Hooton in his preview of this production in the Hour: “With so much budding talent, the production exudes the reckless abandon of youth. If it works, the old play will roar once again. If not, well, mark it down as a learning experience for a cast and crew with bright futures.” The result is…no it does not work. The article in the Hour gives a prelude to the arrogance of the production demonstrated through the Q & A with the production’s lead.

Indeed the costumes are the best part of the Production. However they are lost as the play is staged without decoration and is miss-placed in a space that lends itself to a room with all the ambiance and charm of an unfinished laundry room in an apartment house basement. A difficult enough venue to creatively light, it is either too bright or too dim. A black backdrop curtain set against the cold cement walls contribute nothing to the production that is in much need of some warmth to add to the depth and spirit of the play. The performers are also in serious need of a movement Coach to improve on their body language, with poor posture and dangling arms with no finesse, the actors are lacking in some very basic direction. There is a great very realistic sword-fighting scene in act one and the well-choreographed sequences of Phil Demers continue into act two adding some lively visuals.

There is something obviously amiss with the direction when the reactions of the supporting cast upstage the lead actors delivering their text. The leading roles are lost here on two actors that have absolutely no chemistry. The performance of the character Othello is lack luster and inconsistent, and the mundane portrayal of Desdemona is gravely uncommitted. Both are miss cast and they’re delivery makes for a poor portrayal of these two literary icons. Matthew Raudsepp is a stand out with his interpretation of Cassio. His matinee idle looks and physical presence place him convincingly well in this swashbuckler role. Look to see him in future productions of this genre that is if the call to the big screen doesn’t nab him up first. The most noteworthy performance however is delivered by Christopher Moore as Iago, who is the real star of the production, delivering a stellar performance amongst the otherwise all too static to too ecstatic performances presented by the rest of cast. Moore has all the package of natural talent and stage presence. He is engaging with the charisma required to carry the character through the heavily worded material and endear him to the audience with his conniving yet charming disposition from the moment he first steps on the stage. However, the weight of getting the play through act two is too heavy for even his talented shoulders to carry resulting in the production falling dramatically short of achieving its’ goals.

Ultimately, the production's utter lack of success rests in its’ overall inability to prove to the audience that a 400-year-old play can offer insight into our own current daily lives. The production comes across as a mid-term graduate class studio presentation, not up to par with the company’s mandate, and is overall a tragically missed opportunity to revive this play.

Presented by Persephone Productions, directed by Gabrielle Soskin. @ the McCord Museum until November 29th.
Reservations & info. @ 514 398-7100 #234

Theatre for the 21st century soars to new hights @ Centaur with SKYDIVE...

Centaur delivers an early Christmas present to Montreal theatre fans as SKYDIVE soars onto the stage this week. A RealWheels production (Vancouver), directed by: Roy Surette and Stephen Drover, with Bob Frazer & James Sanders. The principle reason I gravitated to the theatre industry, as my third career, was the that the process of collaboration equals (=) theatre. This production exemplifies this equation.

There is nothing to criticize and nothing but praise to be given to this theatre production for the 21st century. Ninety-five minutes of pure visual joy added to a very clever use of space with exceptional lighting and sound, detailed blocking, and a catchy musical sound track. The original funny text with a message of hope daring us to 'stand-up' and face our fears head-on and overcome the obstacles in our live's. SKYDIVE also takes the genre of stand-up comedy to new hights and acting to a new (infinit) dimension.

One thing for sure is there will be a lot of folks going home asking where Mom stored all of their childhood memorabilia. Boxes and crates in the basements and attics of our parents' homes may get raided and the moth balls tossed this holiday season.  With a flash back to the late 70's and 80's through references to t.v. and music, the characters bring us on a familiar and amusing tour down memory lane of that decade.

Although it may be tempting to bring the kids to see this play, I do recommend it only for ages 14+. But it is a great 'turn-on' to those who may be 'nay sayers' to theatre as an entertainment medium...so if you can drag the teens and the dads and B.F's. away from the 'boob' tube and the Play-Stations, this Is the production that might make theatre goers out of them.

Playing to December 7th. I anticipate an extended run but don't wait, as the production leaves on tour in 2009, even if you have to drop in by parachute... Go C IT! 514 288-3161

Dulcinea’s Lament is an awe-inspiring refreshing risky surprise!

Impeccably directed from start to finish by Alice Ronfard. A not to be missed production with Dulcinea Langfelder presented by Dulcinea Langfelder & Co. @ D.B. Clarke on a limited run until Nov. 19. You know you’ve sat down to something really special when you can feel the muscles
in your face straining from the permanent smile created by the shear
enjoyment of what you are watching.

Inspired by Don Quixte’s muse, she will take on Cervantes’ absent heroine. She will use her namesake to express her vision of the world, religion attitudes, language, love, and history. Even if you are unfamiliar with Don Quixote you will be truly inspired by the message of hope.

With something for everyone this principally one women show, supported by four multi-talented performers, has movement, spoken work, puppetry, live music...both vocal and instrumental, and dance, all surrounded by a spectacle of video projection of claymation, animation and special effects, that literally moves with the story re-defining a multi-media theatrical production experience.

This golden age artist is more feisty, and demonstrates more spirit, than someone one-half the age; she is so acutely in-touch with the medium and her audience. There are moments in this renaissance performance when there is more going on than the senses and mind can even absorb.

Dulcinea’s Lament is pure joy with a very well merited standing ‘O’ that follows the applause that starts up even before the performance has concluded. Dee Arr says to absolutely GO C IT!

Res: 848-2424 ext # 4742

Three sons mercilessly air their dirty laundry Down Dangerous Passes Road at La Chapelle.

Talisman Theater presents at La Chapelle until November 15th. the English translation (Linda Gaboriau) of Michel Marc Bouchard's play Down Dangerous Passes Road.

Three (3) brothers take a quick drive to Dangerous Passes Road hours prior to the kid brother's wedding. Trapped in an eternal moment of deja-vu and struggling to get out of an emotional vortex, the three are forced to confront the memory of the death of their father fifteen years earlier. Dealing with mortality is an incredibly emotional experience; the use of language, imagery, physicality and poetry delivered throughout the play is raw forcing the audience to live through this experience with them. The contrast between the beauty of the environment and the harsh realities of life and death add a human voice to the struggle for closure and immortality. The Play highlights the relationships that shape our lives and make up who each of us eventually become.

Three (3) powerhouse performances are delivered by: Marcelo Arroyo (Ambrose, Patrick Costello (Carl), and Graham Cuthbertson (Victor)... This a powerful text and character driven production, no need for any tricks or treats hear. Not having ever had any siblings myself I am always fascinated by the push-pull relationships in family units. (We can choose our friends but not our family.) The Play deals with perception, unspoken truths and invisible acts and gestures of love and their potential misinterpretation ... how we can often be too cruel and how easy it is to be unkind to those whom we love and those who love us in return; all the while reminding us of how fragile and short life can be reminding us to live in and for every moment, relishing life, valuing those in surrounding us in our lives, and not putting off to tomorrow what should be said today.

Set and lights and visuals are all adequate as is the use of space. The text and performances stand strongly on their own. The picky pen would have gone with less of a backdrop decor and added a tree stump and a log or two instead.

Go see it!

Carolyn Fe Trinidad's Almost Blue... Is almost perfect...

Carolyn Fe Trinidad (Director) In her directorial debut, stirs up a real tasty fall season stew, serving a one two punch in this ‘double dosed con’ production of deception, revenge and deceit Almost Blue (by Keith Reddin). Without giving the plot away, the story (with a message) runs smoothly and is well paced. With no intermission and a running time of aprox. 85min. it is well suited to the space. Lighting and sound are adequately planned and placed and the stage design is very appropriate and sufficient with a subdued taste setting the mood of the Play. Adding to the production is original music recorded by Carolyn-Fe Trinidad herself. The future looks bright for director Carolyn-Fe, Altera Vitae Prod.

Rick Bel (Phil) returns to MainLine Theatre having appeared there in Heaven, Fallen Angle Prod. and A Queer Carol, Village Scene Prod. He sustains the pathetic persona throughout without becoming macabre, and allowing his character to appear dazed and confused but not ‘stupid’. He adds the right measure of physical humor and enough comedic nuance to lighten the somber tension of the mood of the Play.

Patrick Goddard (Blue) A veteran Montreal performer: Hedda Gabler, As You Like It and Vampire Lesbians of Sodum and is the Fringe GM @ MainLine. His is the performance of note in this production. Impeccable delivery and timing allow him to delver full throttle into a perfectly matched character for his well suited physicality and voice. He is a spot on casting choice and provides us with the most memorable performance.

Anisa Cameron (Liz) Is a graduate of the Concordia Theatre Dept. Her portrayal of the ballsy Broad is reminiscent of Audrey Meadows (The Honeymooners: Alice & Ralph Cramden) and is delightful to watch as a sassy quick talking vixen driving the con with husband Steve.

Vance de Waele (Steve) also a MainLine Theatre regular, appearing in Saving Céline, C’est Cheese Prod. Quills, and A Lie of the Mind, Fallen Angel Prod. and A Queer Carol Village Scene Prod., rounds out the cast as the fashion challenged ‘slime-ball bully ‘ cohort in the con.

My picky pen note is regarding a piece of set that is placed too far DSL for some audience members to easily see. I had to turn away at times as I was getting a sore neck. Considering how much of the action is blocked in that spot I would prefer it adjusted more USC.

Friday, November 7, 2008 at 8:00pm to Sunday, November 16, 2008 at 4:00pm Location: MainLine Theatre, 3997 Boul. St-Laurent. Res: 514 849-3378 Email: askus@alteravitae.com

If you like your theatre short and sweet and performance / text based without too much distraction of décor and special effects then … Dee Arr says Go C IT!

DRACULA more than just trick, but a real treat!

We all have our ‘die hard’ favorites as fans of certain Plays/Stories, artists and production companies… we anticipate with excitement each and every time they are to deliver a new release…either in music, film and in theatre, we know we are going to see it no mater what it is. Having seen all their work (except Heaven) Monster being my personal favorite, this is the case for me with Frances Balenzano’s Fallen Angle Productions. Now becoming a staple of the Montreal ‘Halloween’ season, Fallen Angle presents another haunting seasonally appropriate production “Dracula” playing at the Monument National studio until November 8.  

It was nice to finally see one of their productions in a space deserved of the caliber of what they can present. Frances Balenzano (director) utilizes the space to the maximum and directs the cast to maintain a subdued tone throughout avoiding the temptation and any risk of leaning towards camp humor; although I did hear the occasional chuckle from some audience members of the sold out crowd… this could be attributed to nervous laughter. Very good to moderate performances are delivered from a large ensemble of thirteen (13) local young talents. The two gargoyles (Christopher Hicks, Samuel Chan) are a clever creative touch, adding to the ambience of the space and time as living set design. A few scenes are blocked in too far DS however, forcing us to twist in our seats to see the action; possibly this was intentional. Costumes are all well designed and intention selection thought out.

Paul Van Dyck is a convincing Dracula brilliantly portrayed through his physicality, makeup and vocal tone; however attentioin needs to be made increase his projection, we do miss some of his text especially when delivered US.

Alison Louder (Mina) is perfectly cast and plays her role to the ‘T’ not giving in to the typical submissive characterization of young women of the period she holds her own, and our attention, amongst the strong male characters on stage.

Shawn Baichoo provides the most polished performance as Van Helsing. Obviously one of the more vetted performers of the ensemble, he is spot on in both voice and tone, delivering a stand out portrayal of the role and rallying the other characters throughout each scene he is in.

The Play does run long at over two and half hours and it also has a late start at 8:30pm, so be prepared for a late night out. The pacing was somewhat ‘off’ the night I attended with some lines obviously flumped and audibly dropped or miss-queued. A lot of time is spent waiting to get to the next special effect or blood splatter moment. The biggest problem I had with this production, as did others that were seated around me, were the never ending lighting black outs, especially in Act 1, and the timing of some of them. Usually used to denote a change in time and/or change of location, they were superfluous and only added to the length of the running time of the production. As an audience member I don’t mind seeing a few scene changes with props being moved around; when there were so many other possible distractions available to divert our attention in the space like with the use of the gargoyles and vixen vampires many of these black outs could have been avoided cutting down the length of the play.

You too will become a 'fan'... If you can still get a ticket?
Dee Arr recommends you Go C it!

Cat on a Hot Tin Roof steams up the Segal Center

I’ve been anxiously anticipating attending this play ever since I saw it announced in this season’s program at the Segal Center. I, like many others, only know the story that was portrayed in the 50’s film with Paul Newman and Liz Taylor. The first theatrical version (The original Broadway production directed by Elia Kazan opened in 1955 with Ben Gazzara as Brick, and Burl Ives as Big Daddy; Gazzara's understudy was Cliff Robertson.) and the film are different from the original text; the huge issue of homosexuality is obscured in the 50’s theatrical and film versions; queer was considered to be a career killer back in the day. In the Play, the character Brick is definitely concerned that other people might think he's ‘queer’. The above artists all went on to very successful careers in film and TV.
 
A revival in 1974 restored a lot of the text that had been removed by Kazan from the original. The Segal production fortunately for us is essentially the 1974 script. It is a story that revolves around inheritance. Like father like son… Big Daddy and Brick are both stuck in relationships with wives that love them, but they don’t love in return and wish they did; both are insecure with their masculinity and they don’t believe they are good enough to even deserve that love; both escape life, one though his drive for success, and one through the drive to the bottom of the bottle. The Play embodies all that defines the themes of: deceit, denial, greed, and manipulation.

Incredible casting, with flawless performances delivered from the whole ensemble, seamless direction, amazing set and costumes, as well as great sound and light design merit this production a very well deserved standing ‘O’ and a Dee Arr ‘Go C IT!’

Now for the PP = The Picky Pen. Just keeping it real!

The text could have done with a few edits of the repeating of the title in the text. Once was very clever, twice was enough, but I counted six times… way too many. I would like to see (Brick) portray his anxiousness with less hobbling and limping around the stage and more internalized physical traits that would gradually make their way to the surface with: ticks and twitches slurs and stutters. He could have messed up the bed once it had been made. He doesn’t have a voice that naturally carries well nor does the character's, so he needs to increase the projection when facing US and during the fireworks in Act 2. He reveals ‘barely’ enough teasing peaks at his incredible physique to accommodate the sexuality role. However a little more reveal wouldn’t hurt, this is the 21st century and ‘Montréal’, plus I’m sure it would be appreciated by the women in the audience (and some men too). Finally, his pajamas would be better if a darker color, burgundy (wine) or a golden (whiskey) tone and should be a smooth silky satiny textured material. For the sound effects watch the volume of the storm in particular.

FOH: Two intermissions is a lot… but if need be then limit them both to a maximum of 10 minutes each. I would suggest starting performances at 7:30pm when productions have a long running time of over 2:30, especially premiers. Patrons checking their coats should be warned that it can be drafty in some sections of the theatre depending on where they are seated.

Cat on a Hot Tin Roof, by Tennessee Williams, opened Thursday, October 30th at the Segal Centre for Performing Arts, 5170 Côte Ste. Catherine Rd., and continues through Nov. 16. Call 514-739-7944 or 514-790-1245 or www.segalcentre.org or www.admission.com.

Life Is A Dream is 'dreamy' very entertaining!

My first concern walking into the performance space was that there were sand piles on the stage. Flash back to last weeks "Scorched" sand strewn set (see review below). Quickly I realize that the pyramid shaped 'sands of time' are representative of the characters' lives who we were about to meet in this classic translation (Edwin Honig) of the 17th century "La vida es sueno" by Pedro Calderon de la Barca.

Do not be warded off by words like: '17th century period' or 'a translation' from the Spanish version. This is a high-energy production with an easy to follow plot and an equally easy to listen to text that will invite you to invest in the characters' and keep your full attention in this fable with a message that transcends the test of time. Surprisingly quick delivery of a rich clever text filled to the brim with humorous wise cracks and subtle messages that are delivered from all of the characters, hold the audience attentive and wide eyed throughout.

Segismundo, is released and descends from his prison tower, where he has been since birth, is the focus of this comedic drama 'à la comedy of errors'. In his tower he could only imagine what life out side was really like. Once freed will he seek out revenge for his fate or effect positive change on the world below. Through his experiences, or dreams, he learns that insurrection has passed and there is no longer any time or space for traitors and rebels. There is little wisdom in revenge or further provocation or cruelty. Only forgiveness, the real expression of Segismundo’s power, and the restoration of a belief in human goodness will bring about the possibility of permanent happiness and freedom. Segismundo concedes that life, although shaped and driven by dreams, may be more than just the fiction and illusion he once conceived it to be. In a world of madness, the voice of reason is to point out that without dreams and ambition there can be no real change.

The performances of all the cast are well performed; Particularly Andreas Apergis, Peter Batakliev, and Zachery Fraser are awesome in their roles: Segismundo, Clotaldo, and Clarion respectively. The fluid pacing, immaculate use of space and blocking are a refection of Alison Darcey's master direction and understanding of the material and command over the production. The costumes are superb and add to the overall stage design; I appreciated the 'bare feet', instead of potential use of heavy (noisy) boots, which allows the actors to have more freedom of movement which they take full advantage of throughout. The live band adds to the authenticity of the era reminding us of the what the original production might have been like; As does the design and use of the sparse set and decor. However, I really could have done without the 'sand' and the make shift water trough / river in act 3. Lighting could have been 'brighter' particularly in act 1; the timing on some of the fade ins increased on Segismundo both upper and lower stage, and better use of light to create more ambiance and special effects.

Playing at Centaur only until November 1st. Catch it while you can. This is a real treat... not a trick!

SCORCHED : Classic Greek tragedy or a flawed and untidy Eulogy ?

Described as the ‘best’ that English theatre from Toronto has to export, if you’re into short and sweet stories that wrap up neatly, then the English translation by Linda Gaboriau of Wajdi Mouawad’s ‘Incendies’ playing at Centaur to November 2 is definitely NOT for You. Mouawad is obviously overly concerned with love, death, home and family, in a war torn world in this attempt to gain our compassion for the plight of his characters.

Director Richard Rose could have taken a flame torch or at least a very sharp pair of scissors to this never ending and overly poetic story and kept Scorched burning brightly. He chose instead to retain the sprawling text and over stated hyperbole leaving us with a very dry after taste of the Plays subject matter and the characters. This is a shame since the stylized story is reminiscent of a true classical Greek tragedy, but unfortunately also seems as long as Ulisees The Iliad. I did enjoy the first act, even though I found myself checking the time anticipating an intermission was long overdue.
 
The sound is well designed by Todd Charlton, as is Graeme Thomson’s  lighting; His set is also adequate and I was surprised how it could be used throughout the entire two hours and forty minutes of the Play without being changed and still it remained useful. And, there are some clever uses of some special effects, although they are possibly not to all that original. BUT the second act with its need to preach and drive home every detailed explanation knocks the punch out of the message and the beauty of the piece like using rusty nails on fine finished furniture. You know it’s time to end the play and wrap things up when less than thirty minutes into the second act everyone still awake has figured out the twist and yet the play rambles on for an additional half hour. Add to this a trick of blocking and lighting so we think that the play is finally over, and we hear a smattering of applause, just to be served up an extended Epilogue leaving us cringing our toes and grating our teeth for something or someone to finally put an end to it all.

Stand out performances were presented by both Sergio Di Zio as Simon and Alon Nashman as Alphonse. I felt that the actors were restrained across the spectrum by the extensive blocking and direction; There could have been more attention made to layering the characters and helping them come across as less one dimensional like with Sophie Goulet as Janine and Nicola Lipman as Nawal. If this is what we can expect as the 'best' to come out of English Canada theatre... then I'm very concerned with the direction of thinking that longer is better dollar value. It is also ironic that this Play is a translation from Québec and the translation has traces of the French original version peering throughout that bilingual or Francophone can detect easily. If Québec is to expect more cultural budget cuts then English Canada will have to start to develop more of its original works.

HARVEST V The Montreal LGBT International Theatre Festival

Highlights of HARVEST V Oct. 7 - 18, 2008. Week one featured three (3) Plays including one (1) world premier THE CURATIVE and two (2) touring one person productions: FLUID & LAY DOWN.

Two (2) most memorable moments for me were: Opening night, Tuesday, Oct. 7; day after my b-day. It was a nice turn out with some familiar supportive faces in the house. The Play, THE CURATIVE, opened the festival with its' world premier. Followed by a casual and yummy buffet of snacks and sandwiches and even cupcakes. It was a very friendly atmosphere and it was a pleasure to host everyone there. Just missed my hubby though.

Check out Pat Donnelly's review of: The Curative:

http://www.canada.com/montrealgazette/news/arts/story.html?id=
912af626-0c31-4448-9ef8-69a79d66640d

Then Friday October 10th there was a special performance by
singer/songwriter Pamela Pachal who opened for Fluid at 19:25 with a
30min. set. This was a complimentary performance included in the price
of the ticket for the play Fluid.

FLUID written & performed by Erica Kate MacDonald Brooklyn, NY played three (3) performances. This production is outstanding as Ericka transforms into some very likable and also some more questionable characters. The pacing is 'fluid'! Don't miss the opportunity to spend an hour with Erica...you'll want to spend another and many more once you've had a taste of her fluid... That Friday evening was a perfect combo of song and performance.

LAY DOWN and LOVE ME AGAIN – James Howell from Halifax, NS. James brought us his stand up lay down 'absurd' style satire and irony to Montreal after touring the globe with this one man show. It is a joy to watch performing his take on the universe.

This week is the final production opening @ SKY CABARET: WHAT'S THE POINT?! from NYC, NY. A musical comedy review that has a broad audience appeal. Looking forward to it.

Dangerous Directions with Dangerous Liaisons

Dangerous Liaisons
Saturday, September 13, 2008, 8:30pm performance.

Dangerous Liaisons a Christopher Hampton play adapted from the novel by Pierre Choderlos de Laclos from the 18th-century, now playing at the Segal Centre for Performing Arts at the Saidye.

I’ve seen the award-winning film many times since it first came out 20 years ago starring and just saw for the umpteenth time Cruel Intentions a more ‘modern take’ on the same themes of deceit versus trust and unrequited love connections. I was pumped up to see this classic tale on stage as a piece promoted as ‘First Class’ theatre.

I was prepared for the long drawn out story to unfold and anxiously awaited for a detailed tribute to the English language to be delivered by the actors. The play gets right to the point very quickly as we learn about the lead characters being portrayed in a rapid run down of who is doing who, where, when and why…

The first alarm goes off immediately as we try to figure out when the story is taking place due to the ambiguity of the period presented… Never mind “What time is it?” or What year is it? but What Century is it? With the wide array of accents used by the actors that range from some sort of Québecois French, to fake British and Eastern European, we’re not sure where these folks hail from. We know we’re in France because of the geographic references made from the text. Then there are the contrasting costumes the women wear, from over the top high fashion accents to a very bland frocks, to the extreme opposite futuristic chrome cheek worn by the men, we get no clue as to the period. All this mélange with copious amounts of antique furniture strewn about and piled in a heap at the side of the stage reminisant of the barricade in Les Miss only adds to the distraction and confusion on stage.

The Director has camouflaged the purity of the text with so many accents in the blocking, attempting to be even more clever with each addition than his last trick throughout the Play. This is evidenced by the use of the absurdist choreography and camp humor with props like dildos popping out of one actors underwear, extra large of course, all the while trying to be sexy and sensual yet never committing and actually following through. It could have been a women’s breast, or a rear view, or the full-monty, the characters are never truly 'revealed', nothing but a facade of sensuality portraying sexuality as if it were served up in one of the fake wine glasses used on stage. So much time and energy is spent not going there, either for modesty sake, or is it due to the budget constraints of casting less experience actors that prevents them from going all the way... (One ensemble actor even hesitates and stops dressing the lead when he approaches the groin area while pulling on some stockings.) The overall complete lack of chemistry between the actors leaves us questioning the true sexual orientations of the characters.

Then what is with the never-ending piece of sheet fabric that the actors don’t seem to be able to get away from without using it in some elaborate and ‘representative’ fashion? It contributes to lengthening the two and half hour running time and it serves to distract and frustrate the audience as well as the even the actors. The great text continues to play second fiddle to all the props, and action, along with an annoying background sound track that makes for a very messy second act.

Brett Christopher, delivers his abundant text with good diction, enunciation, elocution, and projection, however this is where the focus of his performance remains as he is so busy keeping busy with too much action blocked in that it is extremely distracting, and does not allow for any real emotion to come through in the delivery of the text. What could have been, often comes across as trite and unfeeling. We can almost feel his frustration, however misplaced in act two, not as a character portrayal but as an actor anxiously trying to get to the end of the play.

However Yannick Larivée's mirrored-ballroom stage design is very inspiring and put to good use throughout, and the lighting by Spike Lynn is also great. It is the least we should expect
from these ‘First Class’ productions.

There are a couple of performances in secondary roles worth noting. Moira Wylie, as Madame de Rosemonde, aunt of Valmont, who is entertaining to watch; And although she has no lines, ensemble actress Kristina Sandev, really gets into the moment either as a maid or as a seductress doing everything she can physically to help the story along. Finally, Tara Nicodemo, as Madame de Volanges, is well cast in her role. On the other hand the least enjoyable most miss-directed performances are those portrayed by Gemma James-Smith who plays Cécile de Volanges as a dimwitted ‘virgin/slut’ and Jake Epstein the Le Chevalier Danceny as a nerd/stud. Both come across as complete numskulls, I want to say idiots but that insults the idiots who have feelings too, and it is painfully obvious that these two characters are being portrayed as having none.

If you don’t know the plot then opt out to either read the book or rent the movie; You’ll be better off with either choice. Seeing this production is not the best option to discover this great story if it is going to be your first introduction to it.

Playing at Segal Center
5170 ch. de la Côte Ste Catherine
September 7 to 28, 2008
www.segalcentre.org 514 739-7944

Fringe #18 My 2 cents...are they worth 5 cents?

Is it that time of year again already... festival season in Montreal is already well underway and that means that there is probably so much to Fringe and so little time. In year #18 I'm committing to see eighteen productions (at least). (Updated Monday, June 23rd 2am) So now (21) productions in my coin purse:

Go CIT! I decided to put in my two (2) cents ... and combined with the Franco expression "it isn't worth five (5) cents" as the rating system that will be represented by 'cents' 1 through 5...The more 'cents' the better the recommendation. Make sense? 5 cents = Exceptional! 4 cents = Excellent, Go CIT!! 3 cents = very good CIT!. 2 cents = good, CIT. 1 cent = fair, maybe skip it. No cents = avoid at all costs!

"DISHPIG"  = 5 cents. Co-created by T.J. Dawe & Performed by Greg Landucci. My early pick of the Montreal Fringe. Go CIT! I would see it again. Leave the kids at home with the sitter! (Congrats on the nod from the Centaur.) My early 'pick of the Fringe' that survived all 21 productions that I visited.

"Shavirez, le tsigane des mers" = 5 cents. Unfortunately there are no more performances at the Fringe :-( I'd CIT again! This was truely a treat for the eyes and ears. No dull moments and brilliantly 'executed' (pun intended) by the cast. A Play 'for all' and all for one. If it ever gets a remount; Go CIT! (Congrats on the win from Chapters.)

"The Particulars" = 4 cents. Brilliantly directed by Patrick Lundeen! Performed by Alex Furber, very enjoyable to watch, and who looks a lot like a cross between Tom Welland (Young Superman) from Smallville and the character Berger from Sex and the City. Good writting by Matthew Mackenzie and cleverly delivered. Go CIT! (Congrats on the nod form the Centaur.)

"Cody Rivers Show" = 4 cents. Utterly enjoyable to watch these two hamming it up in quality camp style. Go CIT! (Congrats on the JFL win; I guess if you missed it you will get to CIT.)

"Cobra II Cobra Christ Superstar" = 4 cents. I'm not a big fan of cartoons, nor do I pretend to know anything of the background material, I saw part 'I' liked it and still enjoted 'it' (Part II) and that's all the more reason to ... Go CIT!

"The Sputniks" = 4 cents. Elison Zasko in collaboration with Jonno Katz is a spell binding solo performance from start to finish. The one hour mid-night performance zipped by with the very touching and elequent story. One flaw in the seamless direction was 'watch for your light' a cardinal rule in theatre performance, stear away from 'right of center' (pun intended) and more 'center' and 'left of center' and you'll be A-okay. One chance left to catch the Sputniks Sunday at 16:15. Go CIT!

"See How They Run" = 4 cents. An unexpected 'girl power' play. Great chemistry in the ensemble with equally strong, refreshing acting, and seamless direction from Liz Valdez in her distinctive influencing style. Go CIT!

"Throwing Gnomes" = 3 cents. Not a huge dance fan, this piece caught my eye at the F4A and I am glad I got to see it. Very original and entertaining; full of energy at the beginning, some levels seemed to falter as the ambitious piece progressed. Could have had an extra cent if it been a few (8) minutes shorter. CIT!

"Totem Figures - TJ Dawe" = 3 cents. For those who appreciate TJ's famous story telling stylized elaborate monologues this is a treat at almost 90min. If this is your first time I fear some may wonder what is it all about. This piece comes across almost like a 'farewell tour' (hopefully not) in that it is really deeply personal for TJ. Almost scary in that it could seem potentially self absorbed 'all about me' more so than his usual comical style. This piece requires being very awake and focused so a very late show is not a good idea, or if your are coming directly from the beer tent. A double latté will help you keep up to TJ's speedy delivery. My only complaint is that he stands virtually stationary (already a tall west coast guy) on the already high rise TSC stage throughout. This removes him from the 1-on-1 feeling that the story telling genre requires; add to that the large microphone held to a 45 degree angle in the right hand, only helps to depersonalize his natural smooth warm style.Go CIT!

"Peg Ass Us" Pack Of Others = 3 cents.  Okay I can wrap this production into one sentence..."An instructional presentation on how females can pleasure their men through penetration." However, they: John Leo & Sophie Nimmannit, manage to entertain us for a full hour, so I recommend it in the end. 'Get it?' Go CIT!

"This Hour Has 88 Years" Quint Productions = 3 cents. A very ambitious production. Maybe for a first time out, 58 years would have made for a more successful and tighter result. However, what is lost in the direction and lack of concern for a technically tight production and some noticably weaker than others performances, is made up for with some very powerful homages to history through dance and music, originality, and the energy and drive of the overall performances. The music/sound selections and quotes need some serious editing and quality improvement. But Go CIT! (Congrats on the nod from the Centaur.)

"Blast Back Babyzap" Uncalled For = 3 cents. A very well round and polished set of skits from beginning to end. Will win over even the most ardent skeptic. Go CIT! (Congrats on the win from JFL.)

"Barbie World" Scream Dance = 3 cents. Great moves. Go CIT!

"See Bob Run" = 3 cents. Very well performed. Great script. Only the constant black outs and dim lighting needed revision. Go CIT!

"Degrassi The Musical" = 3 cents. Not quit as enamored as the other buzz noted by the critics; the piece is too short in some respects, particularly in regards to the story line, and at times the 'singers' are drowned out by a sound track playing too loud. But avid fans of the 'show' will no doubt enjoy all the camp retro. CIT!

"Lard" Big Moves = 2 cents. Plenty of big dance numbers. Everyone seems to be getting their fill. At 90min the production could use some trimming and improvement on pacing and transitions. CIT!

"Apnée" Équipe de création = 2 cents. Natalie Baroud creation and direction. Performed by Jacqueline Van de Geer. A non-dance multi-media interpretive movement piece. Brilliant and intreaging performance by Van de Geer who holds her own against the 'upstaging' of the video medium. CIT!

"Beth" Zero-Sum Games = 2 cents. Interesting and sharply dramatic performance by Fringe vet Angela Potvin of this 'Scottish play' inspired production, which is unfortunately held down by the lack of direction and supporting cast. CIT!

"Argument with a Dolphin" Without Annette = 1 cent. Maybe it was an off night, but still no excuse when your touted as 'masters of improve'?! A very un even distribution and unoriginal delivery leaving us ready to argue for more than what the talent offered up.

"The Dragpiper" Dragpiper Productions = 1 cent. Take away the tassled tits, the highland dancers, the piping in drag, strip away the superfluous amount of copious cast and then re-cast a strong talented lead 'actor' and get a director who specializes in developing solo performances; then the playwright can go back to the pen and paper and rewrite the actually story...there is one here but it is unfortunately camouflaged and got buried in fluff.
(Congrats on the MainLine win from Jeremy. If anyone can pull this story together he will, even if he has to reach up under your kilt to do so. Looking forward to seeing the revised remount.)

"Transendental Masterbation" Glen Callendar = No cents. Literally! This apparently 1:30 production cut down to 1:00 is 0:30 minutes too long. What won us over in the first half was lost on us in the second.

Well another Fringe has gone by. I made my deadlines and exceeded my goal of reviewing 18 productions. It has been a slice folks! Next year 19+ ? TBA! Now for 'all that Jazz!'

Fringe For All with my eye on the ball...

Normally the Fringe For All (F4A) for a threatrephil is like falling into a giant pile of 'blow' for a crack head. More Fringe than you can handle in two and half hours. This season's edition was a well paced, well hosted and well attended F4A filled with delectable tidbits of drama, comedy, and plenty of dance...

Remarkably, although the Fringe usually has a more 'anglo' appeal with the majority of its' productions in English, it was the local Franco productions that stood out among the vast array of talent. Here are some of the standouts that I noted as must and maybe sees...

En francais:

Mademoiselle Lafleur - Théâtre du BuildinG  Oui
Belzébrute - Shavirez, le tsigane des mers   Oui
Les Filles-Canon - Les Dames                     Peut être
CoCu Clan - La Troupe du Scélofanne          Peut être
Apnée - Natalie Baroud                             Oui
Ggagné - Lancer du nain                           Oui
Spectacle pour emporter - Les Néos            Oui
Le musée des vieux animaux québecois       Oui

English:

Dishpig - Chipped Paint Productions            CIT
This Hour Has 88 Years - Quint Productions CIT
Lard (Like Grease, but Thicker) - Big Moves MAYB
Argument with a Dolphin - Without Annette CIT
Beth - Zero Sum Fears                            CIT
Barbie World - Scream Dance Company     MAYB
The Particulars - Syd Trinity                     CIT
Blastback Babyzap - Uncalled For              CIT
Teaching Fringe - Doctor Keir                   CIT

If you have to ask what CIT stands for then maybe this isn't 4U.
Stay tuned for next weeks review of the 1st weekend of Fringe.

FRINGE FOR ALL FOR ONE June 2 Café Campus

Du 12 au 22 JUIN
FRINGE The 18th ST-AMBROISE MONTREAL FRINGE FESTIVAL!
Le festival international de l'expression libre.

“La meilleure planque en ville pour s'exclamer 'What the f***!'”

In 1947 some artists feeling excluded from the Edinburgh Scotland International Festival decided to perform their shows at the exact same time. Later, journalists referred to these shows as the “Festival Fringe” and an international movement was born! The first Canadian Fringe Festival was held in1983 in Edmonton; since then, more than 30 Fringe Festivals have sprung up all across Canada and the United States. The 1st in Montreal was in 1991 and took place on St-Laurent Boulevard.

In 1996 I first discovered the FRINGE; I've attended every year since. Volunteering from 1999 to 2007, and on staff for 3 years: 2002, 04, 05. Volunteering for the FRINGE even if only for (4) hours will get you into a Play of your choice for FREE!

In 1996, Jeremy Hechtman, the current producer of the festival, moved it to the campus of McGill University. In 1999, the festival returned to the Main, and has since grown to become a bilingual French and English performing arts festival and one of the Plateau - Mile-End and Greater Montreal largest cultural events.

In 2008 over 50,000 spectators are expected to attend 90 companies from: 8 countries, 5 Canadian provinces, and 5 US states;  in over ten venues including: Cabaret et Studio Juste pour Rire, Théâtre La Chapelle, Théâtre Ste-Catherine, Éspace Geordie, Tangente, entre autre; presenting 700 performances in 11 days. Fringe Central offers numerous free concerts and special events with outdoor stage, beer tent and central box office located in Parc des Ameriques Rachael et St-Laurent. Ticket prices range from free to a maximum of $9 and 100% of this price is returned directly to the artists.

The 2008 Fringe season kicks off Monday June 2, 8pm, at Café Campus with our annual Fringe-For-All preview night: a free evening of performance where local Fringe companies will impress the assembled audience and is your best chance to determine the must-see shows of 2008. The festival opens at 6pm, Thursday, June 12, with a free outdoor concert and party at Fringe Central.

Here is a pre-view of some of those must see Plays:

‘The Dragpiper’
*Miss Gina, Dragpiper extraordinaire, is on a quest where Braveheart meets Priscilla Queen of the Desert, in search of a new home; except this ‘Dorethy is in high heels, fishnets and fake eyelashes. Two-spirited lipstick prophets tell secrets while Celtic hearts and blaring pipes escort you down the lost highway from Winnipeg through northern Ontario to La Belle Province.

‘Degrassi! The Musical’
Your favorite 80’s TV tales of teenage pregnancy, fake drug deals and swamp-related pornography all in musical form! Degrassi Junior High comes alive with instant classics like “There’s Nothing Wrong With Lesbians” “You Oughta Be Kicked in the Head” and a very special tap dance number, “He Touched You/Me.”
‘Le Cocu Clan’ est une pièce folle, burlesque, croustillante et puncher...bref, vous n'aurai pas le temps de vous ennuyer. Jouée devant plus de 3,000 personnes en région, elle vient  maintenant voir s'il y a autant de curieux que de cocus ici aussi.

“The official Napolean Dynamite Dance Class” This dance piece at Mange mes Pieds Dance Studio and has some interesting gay characters in the story line.

‘Peg-Ass-Us’ **A tale of boy-meets-girl, and the whole involves much more than the sum of their parts! In a no-holes-barred sexploration of ‘pegging’ these lovers tease along the delicious line between fetish & preference, queer & straight, give & take, wrong and oh-so-right. Produced by packofothers.org from NYC who coincidentially return to Montreal in October for La Récolte V with a production entitled ‘Fluid’.

The FRINGE FOR ALL is at Café Campus, Monday June 2nd 8pm.
A free entry event to see 2min. promotional samples of the Plays

18th ST-AMBROISE MONTREAL FESTIVAL FRINGE 12 au 22 juin. Billeterie et detailed programming information www.montrealfringe.ca Tél: 514.849.FEST.

‘Les z'enfants d'choeur’ au Gesu: le billet le plus 'HOT' à Montréal en juin.

Tel que publier dans Fugues (pg 114) juin 2008.
arts on aime le théâtre

Collaborateur Davyn Ryall Traduit par Stephan Turgeon

Du 12 au 21 JUIN
‘Les z'enfants d'choeur’/
‘Altar Boyz’ au Gesù.
 
Le directeur Stephen Pietrantoni (S.P.) a d’abord entendu parler de la comédie musicale ‘Altar Boyz’ quand elle jouait à New York au Musical Theatre Festival en 2004. Avec ses études en religion et en théâtre, il a été intéressé immédiatement par la pièce à cause de son thème et son message…“Aussitôt que je suis sorti du théâtre, la première fois que je l’ai vue off-Broadway en 2005, j’ai su que je voulais la présenter à Montréal. Son message d’espoir, de tolérance et de soutien mutuel  se rapporte si bien aux défis auxquels on fait face ensemble à chaque jour dans notre ville.” Un de ses plus grands défis a été de distribuer les rôles pour cette production locale. “C’est assez difficile pour une comédie musicale à Montréal… peu d’artistes sont à la fois acteur, chanteur et danseur... en plus, il me fallait cinq hommes bilingues car la pièce est jouée dans les 2 langues.” S.P.

Depuis ‘Les Misérables’, aucune compagnie locale n’a produit une comédie musicale avec une seule distribution bilingue jouant à la fois les versions française et anglaise. En produisant les 2 versions de la pièce, S.P. espère réduire les différences culturelles en créant une occasion pour les communautés francophones et anglophones de partager une même activité culturelle. “Les comédies musicales, à cause du langage universel de la musique, peuvent nous donner un point commun de référence pour que l’on puisse partager l’expérience ensemble.” S.P.

Les chansons dans ‘Les z'enfants d'choeur’ sont des airs pop, joyeux et contagieux. Le message de la pièce peut être pleinement apprécié de tous, peu importe les croyances religieuses. Cette comédie musicale hilarante raconte l’histoire d’un ‘boys-band’ chrétien fictif, à la fin de sa tournée “Gloire à Dieu et aux Cieux”. Ils chantent, ils dansent et ils feront tout pour vous faire chavirer le coeur. Venez vous éclater avec Mathieu, Marc, Luc, Juan et Abraham. Venez joindre les z'autres gars pour la première production Canadienne de ‘Altar Boyz’, présentée aussi pour la première fois en français sous le nom ‘Les z'enfants d'choeur’!

Version française co-traduite par Claire Armange et Stephen Pietrantoni; Directeur musical, Chris Barillaro;  Chorégraphie, Robin Henderson;  Décor, Jeremy Pinchuk; Accessoires, Pierre Martin; Vidéographist Nathaniel Siri ; Costumes gracieuseté de Evidence Clothing
et chaussures gracieuseté de Adidas.

Produit par le Centre Éducatif pour le Théâtre à Montréal (C.E.T.M.) qui fournit des services de support administratif aux compagnies de théâtre indépendant de Montréal.
CETM crée des événements qui donnent aux artistes locaux l’opportunité d’être vus et de souligner leur talent tels ‘Le Spotlight’, mercredi le 21 mai à 20h au Gésù (www.lespotlight.ca), un événement à la fois amusant et éducatif, et ‘The Festival of New Musicals’ à la mi-août.

“Nous aimerions faire de Montréal un incubateur de nouvelles comédies musicales, ce qui pourrait aider à mettre notre ville sur la carte culturelle mondiale de façon significative.” S.P.

‘Altar Boyz’ au Théâtre Gesù, 1200 Bleury, Montréal. En francais : les 12, 14, et 20 juin à 20h, et le 21 juin à 14h. En anglais: les 13, 19, et 21 juin à 20h, et le 14 juin  à 14h. Sièges assignés. Réservation au 514-861-4036 ou www.gesu.net/billetterie.htm . Prix : $40 plus $1.50 de frais de services.  

‘Altar Boyz’ at Gésu June's Hottest Ticket in Town!

As published in French in Fugues (pg. 114) June 2008.
arts on aime le theater

Par Davyn Ryall

Du 12 au 21 JUIN
Les z'enfants d'choeur
‘Altar Boyz’ à Gésu.
 
Director Stephen Pietrantoni (S.P.) first heard of ‘Altar Boyz’ when it opened in New York at the Musical Theatre Festival in 2004. As an undergraduate with a double major in religion and theatre he was immediately drawn to the Play because of it’s themes and it’s message…

“As soon as I left the theatre the first time I saw it off-Broadway in 2005, I knew I wanted to bring it to Montreal.  Its message of faith, tolerance and mutual support relates so well to the challenges we face together everyday in our city.” One of the greatest challenges for the director was casting this local production. “It is difficult enough to cast a musical in Montreal… there are so few ‘triple threats’ actors, singers, dancers… add to that it required an ensemble of five (5) males and the Play is performed in two languages.” S.P.

Not since ‘Les Misérables’ has a local company produced a musical with a single bilingual cast performing both the French and English versions. By producing the Play in both versions S.P. hopes to bridge cultural gaps and create more occasions for both the French and English communities to share cultural activities. “Musicals, because of the universal language of music, can give us a common point of reference so we can share in the experience together.” S.P.

The songs in Les z'enfants d'choeur are happy and infectious pop tunes.  The story is a joyous exhilarating ‘joy ride’ with a lot of heart and sole. The Play's message about faith, tolerance and mutual understanding is one that everyone can fully appreciate regardless of their specific religious persuasions. C’est comedie musicale hilarante raconte l’histoire d’un ‘boys-band’ cretienne fictif à la fin de sa tournée “Gloire à Dieu et aux Cieux”. Ils chantent, ils dansent et ils feront tout pour vous faire chavirer le coeur. Venez vous éclater avec Mathieu, Marc, Luc, Juan et Abraham. Joindre les z'autres gars pour la premiere production Canadienne de Les z'enfants d'choeur, presentée aussi pour la premiere fois en francais!

French version co-translated by Claire Armange and Stephen Pietrantoni; Musical director Chris Barillaro;  Choreography Robin Henderson;  Stage design Jeremy Pinchuk; Props Pierre Martin; Costumes courtesy of Evidence Clothing, and footwear courtesy of Adidas.

Produced by The Centre for Education and Theatre in Montreal (C.E.T.M.) which provides
direct administrative support services to independent theatre companies in Montreal.

CETM creates events to provide more opportunities of visibility for local performers to be seen and highlight their talent: ‘Le Spotlight’ mercredi le 21 mai à 20h à Gésu (www.lespotlight.ca)
an event that is both fun and educational. The Festival of Next Wave of Musicals, mid-August.

“We'd like to make Montreal an incubator for new musicals, which can help put our city on the world cultural map in a meaningful way.” S.P.

Altar Boyz à Théâtre Gésu 1200 Bleury, Montréal. En francais le 12, 14, et 20 juin à 20h, et le 21 juin à 14h; En anglais: le 13, 19, et 21 juin à 20h, et le 14 juin  à 14h. Sieges assigné. Réservation au 514-861-4036 ou gesu.net/billetterie.htm. Prix $40. Plus $1.50 frais de services.  

Forever Yours, Marie-Lou a Tremblay classic...

Michel Tremblay's classic 7 play Forever Yours, Marie-Lou (Toujours ta Marie-Lou) now at Centaur until May 25. As the mega-Anglo theatre complex Centaur Theatre closes for the 2007-08 season so do the remnants of any trace of its' previous artistic director.

Well almost anyway...out with the old and in with the old could be said about reviving this old horse. This Play gives a whole other meaning to 'Odd Couple'. It is an in your face perspective of the way Tremblay sees the Québecois family. I know that there are many still out there that resemble and mirror the image he projects in the Play, but I also know that in general the 'culture Québecois' has evolved by leaps and bounds in the past 35 years and this cliché image of that generation is an isolated dying out breed.

This old horse would best be either shot and sent to the glue factory or at very least sent out to pasture. Some 'classics' are best keep for school, church, community productions; they don't need to be trotted out every few years to a major production house, chewing up major production budgets, with elaborately clever sets and light design, in order to make them appear to be relevant.

The best thing going for this Tremblays' Play is that it is one of his shorter ones. Running as one act for 1h20 with no intermission.

If you are in withdraw from not seeing a Tremblay Play in Montreal in the past two months then by all means go; He is a master when it comes to writing for actresses who want to portray a 'Mother' of a character. But if you have never seen Tremblays' work on stage then wait for something 'en francais' or my favorite, 'Belles Soeurs'.

With so many other plays to choose from now playing in Montreal, see below, this one can be 'a miss'.

The Short & Sweet of Short Story Long

Short Story Long, is written and directed by Joel Fishbane of Montreal’s Pumpkin Theatre and stars Stéphanie Breton and Stefanie Buxton. At MainLine Theatre, 3997 St. Laurent, to May 17. Drama. 75 minutes.

As the winter theatre season gives way to the spring sprint to Montreal’s summer festival season there are a surprising amount of new independent productions still opening; not wanting to let go of what has been for most a very long and hard winter with plenty of deep snow in a deep well developed theatre season. Mainline is no exception and is warming up after a dark and cold winter season of suicides, murders and abuse, so dress in layers, or run the risk of either being hot or chilly.

The Play is the story of a widow who discovers that her now dead author husband, a famous Montreal writer Lincoln Kennedy, has left his literary legacy to another woman. He’s left his worldly goods and funds to his wife Julianne (Stefanie Buxton) but all his writing and the copyrights are left to an anonymous person with the initials  “AK” we know as Amalthea King (Stephanie Breton) a former lover of his who shows up to ask the wife not to contest the will. The twist at the end is justified by the plot and may not come as a surprise to most.

What matters here is the clever repartee written by Fishbane for the two characters he has created. Understanding and writing for the female when you’re a male writer is always a challenge. If I may be so bold as to add especially if he’s a heterosexual. Women writers are assumed to have a natural insight into the male mind but when one of our ‘men’ take on the task of writing women’s roles we usually steps back and examine more in detail. They (the female characters) can’t be too ‘bitchy’ or too ‘emasculating’ or too ‘sluttish’ or too ‘feminist’ or too passive. The women in Fishbane’s Short Story Long do not come across as too much of any of the above.

The two characters are brilliantly portrayed by both Stefanie and Stephanie B’s. The pacing is quick and the dialogue is fired rapidly throughout the first part of the one act Play. Although I found this quick pace started to drag around the middle of the Play and it then started to pick up but never quiet got back on tract in the later part however overall most of the direction and interpretations were up to the demands of the material.

Having seen a number of Fishbane’s Plays which he has both written and directed; one can’t help but wonder if and when he’ll allow a producer/director to take on his work and add another perspective and vision to the production. Is it a control or insecurity factor? I guess we’ll just have to wait and see. It is refreshing however that Pumpkin Theatre continues to produce both original and entertaining theatre and that represents our Montreal talent in a positive light.
Short

Odd Couple reminisent of colorful times gone by.

Neil Simon’s The Odd Couple: The story of Felix Ungar, a neurotic, too neat-freak news cast writer who, when thrown out by his cherished home by his beloved wife, moves in with his best friend Oscar Madison, a rough around the edges sportswriter. Simon’s play was inspired by a true-to-life experience of his own brother Danny.

The play describes itself best: “Two men - one divorced and one estranged and neither quite sure why their marriages fell apart - who move in together to save money for alimony and suddenly discover they’re having the same conflicts and fights they had in their marriages.”

This is nothing unusual nowadays, divorce rates are over 50% of all heterosexual unions and much less negatively perceived than when this now period play saw the stage for the first time. Except guys who are roommates these days are now often questionably gay or at least often assumed to be.

Admittedly I was apprehensive about seeing the Play of this now classic piece of Americana literature. I’m old enough to have been there when the film premiered (Walter Matthau and Jack Lemmon) and recollect fondly sitting by the black and white set with my late Mother watching the TV series 1970-75 (Jack Clugman and Tony Randel). Seeing the Play that inspired these now familiar (thanks to reruns and syndication) classics might not measure up and tarnish my cherished memories. Entering the theatre as the lights dim I found my seat just in time as the stage lit and I was immediately transported to what appeared as and soon felt much like an ABC 70’s television studio ready to tape an episode before ‘a live audience’.

Oscar readies his apartment to receive his poker buddies for a regular Friday night of poker as a parade of colorful characters enter the scene, all exquisitely played by some familiar and comforting local faces including: Glen Bowser, Mike Paterson and Howard Rosenstein. We are given a very accurate portrayal of the period in: décor, costumes, and styles transporting us to a forgotten time when lime green and orange were ‘Fab’ and dieting meant popping a pill. The age of the sexual revolution unfolds before us reminiscent of such simple yet wildly flower powered and colorful moments as Felix and Oscar take us on their journey of self discovery.

The performances of both Rod Beattie (Felix Ungar) and John Evans (Oscar Madison) remain original in their own right yet respect the characters and incorporate a certain ‘hommage’ to those thespians that previously embodied these roles. An additional treat are the gals from upstairs; A pair of Brits Gwedolyn (Jennifer Morehouse) and Cecily Pigeon (Brigit Wilson) who add sugar and spice to the sauce created by Felix as it boils over in Oscars’ kitchen of mystery meats and good old fashioned junk food.

I did feel there were a few moments here and there where opportunities to detailed direction were left un-nurtured. The production still manages to steer a clear and fast paced course even though it is lengthy and has two intermissions.

Segal Centre for Performing Arts
5151 Ch de la cote Ste-Catherine

Playing: May 04 to 25, 2008.
Reservations: (514) 739-7944; 514-790-1245; www.admission.com.

'A Lie of the Mind' at MainLine to April 27th.

Fallen Angel Productions presents A Lie Of The Mind by Pulitzer prize-winning playwright Sam Shepard.

Directed by Frances Balenzano the Play features: Brad Carmichael, Vance De Waele, Doreen Fagan, Rick Bel,
Melissa Paulson, Jessica
Rose, Andre Simoneau and Katie Stanfield.

Very strong performances from the ensemble...and especially Brad and Jessica. If their was an 'Oscar' for Montreal theatre...you could expect a supporting role actor nomination for Carmichael's Jake. Oh wait...there is always the MECCA's.

If you get the chance to see it twice, like I did, sit at opposite ends of the space, you'll get a very different perspecive each time...and dress in layers...MainLine is getting warmer as is the weather.

Roy Surette makes a big splash on the Centaur stage with Maddy Heisler

The Mystery of Maddy Heisler
By Daniel Lillford

Roy Surette makes a big splash with his first production as Artistic Director at Centaur Theatre with this mysteriously dark play set in Nova Scotia. The play is filled with good humour to help shed light on the story of Jacob a 17 year old WW2 navy cadet who falls in love with a older 30 year old European women, Maddy Heisler. The affair is brief; As is act one, lasting under 50 minutes with one of the most amazingly dramatic theatre moments I’ve ever seen on stage to end it. We are left suspecting that the woman was actually a German spy, and that she is now dead and may be haunting Jacob and his war time buddy.

In act two, also approximately 50 minutes, many years later a young German woman arrives in the area seeking out the now aging, Jacob. The women delivers to him the private journal of her grandmother, the contents of which open a door to the past and answer many questions stil being asked in the present. It reveals what really happened between Maddy and Jacob, and after her disappearance.

It is difficult to review a mystery without giving away too much of the plot. Suffice it to say the reveal is not predicable and neither is anything else about this production. An amazing set and lighting bring us to the 1940's Nova Scotia ocean shores as easily as the current home of Jacob where he lives with his ‘colored’ wife. The plays subject matter covers many issues including: innocence, love, deceit, racism, friendship and family.
Great direction with attention to pacing and blocking, with impeccable performances delivered from the ensemble of perfectly cast actors make this production as entertaining as it is interesting. Playing at Centaur to April 20.

Directed by Roy Surette

Starring:

Kent Allen

Patrick Costello

Michael Chiasson

Phyllis Gooden

Gregory Prest

Patricia Summersett



Set & Costume Design: Anne-Séguin Poirier

Lighting Design: Spike Lyne

WEST SIDE STORY at 50 still full of timeless tunes.

WEST SIDE STORY opened over 50 years ago taking the musical world by storm. Presented by www.lpexpression.ca

From the moment we arrive at the Corona Theatre (2490 Notre-Dame west) we are entertained by street performers handing out programs as we wade through the lines of patrons to get our tickets, then to check our coats. More members of the cast weave through the aisles of the space in character, teasing the audience as we wait for the curtain to come up.

Under the musical direction of Daniel Ouimet a 24 piece orchestra breaths new life into this Broadway classic proving that Leonard Bernstein's music is timeless and Stephen Sondheim's lyrics are truly appealing to audiences of all ages and languages. The songs are so familiar to the ear that we even forget that they are being sung in French. And it is fascinating to hear how easily they are adapted to the language without loosing a beat.

The cast is vibrant and giving, and we feel their joy in performing these characters that most of us have seen many times on screen and TV, proving that a stage production of the original material is always better enjoyed live the way it was created to be presented. Director Philippe Gobeille takes few liberties in presenting a modernized version in this production; One is by adding some high aerial performers into the choreography which was appreciated by all and really appealed to the younger crowd.

Stand out performances are made by Nathaniel Siri as Bernardo and Jean-Sébastien Bonneau as Tony and Caroline Piché as Anita but it is Catherine Ouimet in the role of Maria that is absolutely amazing. She delivers every note to perfection and is surely a star on the rising. And this big guy managed to get a tear in his eye and a lump in his throat at the end. Over all the cast is interesting to watch and the choreography of Geneviève Lauzon and Joelle Métayer is as much a thrill to the eye as the music is to the ear. Which is essential in this heavily dance driven production.

Okay, so the sets and costumes remind us throughout that this is an amateur production, but this is easily forgiven by the pure energy and dedication of its hard working cast.

For those of you who don't remember, it is also very long (3 hours) so be warned to eat before the play. There is a 15 minute intermission. The venue is well suited for the piece and the bar appreciated as well.

Only two performances left: Saturday March 29 at 14h and 20h.

Prix des billets
Catégorie  A : 30$ (taxes incluses)
Catégorie  B : 24$ (taxes incluses)

Achat de billets
Les billets sont en vente aux  endroits suivants :
À la billetterie du Théâtre Corona

Sur  place au 2490 rue Notre-Dame Ouest, Montréal
(métro  Lionel-Groulx)
Par  téléphone au 514-931-2088
www.theatrecorona.com

Sur le Réseau Admission
Par  téléphone au 514-790-1245
En  ligne sur admission.com

I, Claudia = A stellar solo multi-character mask performance!

I, Claudia is such a theatre treat I’d venture to say it is finger licking good and as delicious as a perfectly season well cooked rib from Bar B Barn.

The play’s title is a take on ’I, Claudius’ - The connection lies in the fact that they are both secret accounts of the inner workings of a character. Claudia is a 12 year old plain girl in the physical and emotional throes of puberty, with unfortunate social skills and reeling from her parents’ divorce. Her father is about to remarry and she is suffering from the anxiety that ensues from his pending nuptials. Claudia speaks to us from inside the boiler room in the basement of her school (a brilliantly realistic stage design), where she stores all the things that are secret and dear to her; that even include her Fathers’ odd socks. Some important adults in Claudia’s life - her grandfather Douglas, her father’s new girlfriend Leslie and the school custodian Drachman - shed light on her situation.

I first knew something special was about to happen when I walked into the new space at the Segal Center and saw the intimate seating and the elaborate set design. This was reiterated when not long into the running of the play I realized I had a cramp in my cheeks; Facial ones, not those I was sitting on. I realized that I had been grinning since the lights dimmed and the curtains were drawn open. For those who know me I usually wear a permanent ‘straight poke face’ expression …
 
The 1 act 90 minutes piece is smart, quick and perfectly paced. Michelle Polak portrays four characters to perfection in mask. The charming and intelligent custodian Drachman guides us through the story as a pseudo narrator with many tricks up his sleeves.
Laced with solid humour and compelling subtle nuances Claudia makes her point (things aren’t always what they appear to be on the outside) clear and poignant;
Even more endearing, if it is possible, is her Grand Father Douglas, and if I could add a comment it would be you can’t get enough of Douglas. Equally well performed,
however somewhat less enchanting is the step-Mother ‘to be’ Leslie. Overall Kristen Thomson’s Claudia leaves our appetite content but craving for a second helping.

I, Claudia
By Kristen Thomson
Directed by Leah Cherniak
Starring Michelle Polak

The filmed version of the play, directed by Chris Abraham, was voted one of Canada’s top ten movies of 2004 by the Toronto International Film Festival Group. Playwright and actor Kristen Thompson is also a three-time Dora Award winner for her work on stage.

I, Claudia is the first production to be presented in The Segal Centre’s new studio space! Playing March 16 - April 13, 2008.

'night Mother' is a great night of theatre.

What may appear at first glance to be a very 'dark play' ...  "night Mother" treats a very 'dark subject' with a lot of light on  humanity and a lot of humor about relationships, family, and everyday life, in a very smartly written and tightly paced production now at MainLine Theatre by Altera Vitae.

The story behind Marsha Norman's Pulitzer Prize winning play for Drama in 1983, is of a middle-aged women, Jessie (Alexandra Valassis), who one random autumn Saturday evening tells her mother that she is going to end her life.  Her mother, Thelma (Sandy Ferguson), first thinks her daughter is bluffing, and when she realizes her daughter is intent on suicide she tries to talk her out of it, much like she would talk her out of doing anything for herself.  A normal reaction of a mother who’s just been told by her daughter that she is going to commit suicide? Maybe? Maybe not? She had a phne, so why didn't she use it to call for help?
It is soon made clear to us that this IS a typical reaction from this mother to her daughter.

Jessie has a list of things she wants to go over and do before shooting herself.  So a typical Saturday evening of catering to her mother ensues, despite what she has planned. The play becomes a discussion between the mother and daughter before 'the inevitable end'. Here is where the play becomes much less about the result as it is about what has lead to Jessie making this the permanent solution to her fatigue with her life. It is soon made very clear that it is about control. Making 'the ultimate' decision to end her life on her own terms. "...I'm ready to get off the bus..."

We understand why Jessie has decided to commit suicide; her life is devoid of anything joyful but for a few household chores, and even though they live together, she and her mother know very little about each other. Jessie wants to control the only thing she feels she truly has control over, her life. If she only had approached 'living' with the same zeal she applies to her own demise it would have been and could have been a whole different play. But, she never lets you doubt she is going to win in the end.

There is plenty of well distributed humour in this reality check on life and family relationships and taking everything for granted.  We never feel any sympathy for Jessie, as many of us have had it much worse, and it is a terrible tragedy to give up on life. The story never becomes too maudlin and dark by maintaining a high energy and efficient pacing throughout. We do feel sorry for those she is leaving behind however; She will die, they having never ever really known who she really is or could have been.

The set unfortunately adds an amateur appearance to this production from the outset. This is one area where less would have been more. This is a play that stands on its' own and the excess is distracting from the text and text.  There are also some easy to fix blocking issues mostly due to the playing surface and seating at the venue not being attended too. We loose a few special moments with Jessie where making the point that the Mother being the 'only thing' standing between Jessie and her bedroom door has taken precedence.

Alexandra Valassis' Jessie manages to maintain the cool and determined attitude required to convince the audience that she means what she says and not come across as too pathetic. Sandy Fergusons' mother however comes across as too whining and tedious at times making her appear to be somewhat unintelligent, and less appealing for us to endure. We relate to Jessie's desire to leave her Mother behind, but that isn't the intent of the play. Overall the production runs rather flawlessly with very strong performances by both actresses.

The play features some haunting original music, A CD is available for purchase to benefit suicideaftermath.com

Directed by Jesse Crobeil, produced by Caroly-Fe Trinidad.

Plays evenings at (8pm) to March 30th with (2pm) matinées on Sat. & Sun. to March 30th. Reservations: 514 935-7277 #105 or askus@altervitea.com

Reviewed by Davyn Ryall
http://deearrhasapoint.blogspot.com

“Relative Good” or “Fanaticisms Without Borders”

“Relative Good” or “Fanaticisms Without Borders” ...
despite some shortcomings is, pardon the pun, relatively good.

Montreal playwright David Gow and director of this production presented at Centaur is an all too real investigation into how easy it is to lose our presumed Canadian civil rights in a world immersed in fanaticism and intent on revenge. A fictional character Mohammed El Rafi or Moe to his friends (Mikel Mroué), a Syrian-born Muslim, engineer, and Canadian citizen, is detained at JFK airport in New York while in transit. Canadian consular officials are unsuccessful in attempts to attain his release and the man’s fate becomes increasingly dim while caught up in a demonstration of security law-language. Innocent people have been arrested, like in the all too non-fictional Canadian Arar incident, (Maher Arar, who was actually shipped to Syria, incarcerated and tortured), innocent people will continue to be detained if they fit into ‘the security-risk profile.’

This is a very personal portrayal of the lack of humanity experienced by the family of a man branded by his name and racial profile as the play puts a face on the political issue of detention, and the fears and agonies that ensue. It is a smart, faced paced and tightly directed chilling account leading the audience in a discussion of what if it happened to you?

Play by David Gow
With:
Don Anderson
Christine Aubin-Khalifah
Marcel Jeannin
Stephanie McNamara
and Mikel Mroué

Directed by David Gow
Set Design: Vincent Lefevre
Costume Design: Ginette Grenier
Lighting Design: Spike Lyne

Excellent casting and a set that rises to new heights at the Centaur (A production where a seat in rows G through M become preferred seating.) helps to deliver this new 'cold' waring nation message to the audience.  Mikel Mroué gives us compelling reason to empathize with Moe with his delivery of pleas for compassionate understanding and basic reason. The Canadian Consular lawyer, Claire Hopkins (Stephanie McNamara) and the attractive American interrogator, Jenkins (Marcel Jeannin), plays "good cop" convincingly portraying the dilemma that his character finds himself in buy having to do his ‘job’ well, of intently never really listening to Moes' truth.

Laced with humor to lighten the dark chilling mood with quips like:
US Agent: “Tim Horton’s…who is that?”
Moe: “Its’ a coffee shop... like Starbucks, but for normal people.”

Ultimately it is the fanatical love and devotion of a wife for her husband that brings Moe home, and his fanatical love of his simple life and endurance that keeps him alive and motivated to survive this ordeal.

This is the one area where the play falls short in delivering its message of humanity. The play relies too heavily on the wordy text to create empathy for the situation that Moe finds himself trapped within. Although the ample heavy decisively political jargoned text seemingly ripped straight from a CNN special on AC 360 like the words of an Obama speech gives the actors all the opportunities to show off their eloquent enunciating chops, there is a lack of compassion for what Moe has left behind in the ‘home country’ where he lives and what he experienced in the 'home country' where he was born, are generally lacking.

Which ultimately begs us to question in the final scene, that arrives all too quickly, in which Moe is reunited with his wife, and he lets out a solitary scream, why didn't she share in that scream? And, what terrible experiences was Moe subjected to live through back in his 'home country'? Gow backs away from the horror that an Arar and others like him must have ben subject too. We are treated through a viscerel monologue to what his wife had to sacrifice in her plight to survive the fight for his freedom, but we are cheated out of what he had to survive and the actual tortures are only briefly alluded to. The play could have taken that extra step towards realism as long as we were treating the issues of 'isims'.

Plays at Centaur until March 30, 2008.

Ireland's Own Carmel O'Reilly TONIGHT

If you can’t make it to the Emerald Isle for Saint Patrick’s Day then make room in your agenda for an evening with Ireland’s Own Carmel O’Reilly at Theatre Saint Catherine. Timely produced during Irish history month and a week prior to the celebration of all things green, this production is a Hoot and a Haller”. The play written by and starring Colleen Curran herself is cleverly directed and choreographed by Corey Castle and features Glen Roy as Carmels’s homebody brother and a cameo appearance by Janis Kirshner.

Carmel O’reilly, allegedly the illegitimate daughter of a famous US president of Irish decent, charms the lucky pants off her attentive audience. This is not a sit back listen and observe production, but rather an engaging and inviting event keeping the audience on their toes and their feet, literally.

If you aren’t of Irish decent you will be searching your family heritage tree to find any possible Druid roots after experiencing this play. If I had one complaint it was the venue; a cabaret setting would have been much more appropriate to the setting of the play.  I left craving a pint from a local pub, and wanting Carmel to tag along with a song and a sing along.

Playing at TSC 264 Ste-Catherine East to March 8th at 8pm and 2pm matinées 8th and 9th. 20$/17$ Res. 514 284-3939.

Highs and lows at Hanging Rock...

Adapted into a play by Laura Shamas, “Picnic at Hanging Rock” is based on the 1967 novel by Lady Joan Lindsay and was made into a film by director Peter Weir in 1977, released in N.A. in 1979.

Set in 1900 the weather is beautiful outside but everything is not always sunny inside a private boarding school for a group of Australian schoolgirls as a romantic Valentine's Day outing ends in intrigue. The girls are taken on an excursion to a picnic to Hanging Rock in Victoria’s Mount Macedon. Four girls wonder off but only one returns. A teacher also disappears. It is a mystery how they went missing and why the one survivor remembers nothing.  The constable and many of the townsfolk try to solve the mystery of what has happened to the three students and the mathematics teacher on top of the jagged peaks of Hanging Rock? A delicate look at crisis, greed and honesty at the turn of the century it is a hauntingly ironic play showing that what seems pristine and
proper on the outside may not be free of moral corruption on the
inside. The final climactic twist is shocking and bittersweet, with an impact that is unforgettable.

Directed by Barbara Kelly and acted in by Dawson’s third year Professional Theatre students.

-Website:  www.dawsoncollege.qc.ca

The 'highs' of the production are: A first act that starts off well paced and choreographed introducing the audience to the large array of characters. Mrs. Appleyard, the matron and headmistress of the college who nips brandy on the sly, is brilliantly portrayed by Stephanie Costa with a 'spot on' performance she interprets her role to perfection. The beautiful young French teacher Mademoiselle De Poitiers, who may know more than she will say to the authorities, is played by Nadia Elena Radu with a measured comedic touch and mystery. The costumes by Elizabeth Cognard are very appealing as well.

The 'lows' and there are many to enumerate: Starting with the accents used by the actors that are undefinable for the better part, and which unfortunately quickly remind the audience that they are watching a 'student' production. The blocking choices by directing the actors to endless treks through the audience, behind the upstage set, and laborously climbing up or down the stage mote to depict the distances traveled by the characters is condecending to the audience at best. And the click clack of high heels on the plywood set, echoing throughout the space, sound nothing like climbing on rocks. Finally, the endless blackouts between the multiple scene changes in act two are not only distracting but dizzying to the eye. Act two suffers from rushing to the end of the story making the audience more anxious to get the experience overwith than to discover 'who done it?'.

There is a musical version of this play, which at first inspection seems to be the right vehicule to interpret the story based on the above production that lacks content and consistency. The music could serve as the missing element needed to weave the story and enhancing the quality of the production to a more entertaining and audience pleasing play.

The musical
http://www.youtube.com/watch?v=IGqyruGh1W0

Half Life unfortunately suffers as half a play,

MONTREAL- John Mighton's Governor General's Award-winning Half Life is set in a nursing home for the aged and deals with the ravages of aging and memory loss and the lives that the residences once lived.

The story is of Clara, softened by the ravages of Alzheimer's Disease and Patrick, a curmudgeon suffering from the effects of a lifetime of binge drinking. These two residents of the geriatric-care facility find an unlikely relationship in what might be consider the ruins of their lives. Brought together by their loneliness and their failing health, they bond, building on a shared memory that it is most likely imagined.

Half Life attempts to be more than a love story set in a nursing home by moving the action beyond the setting of the home in which most of the play is set and involving several other characters; Where by Mighton gets over ambitious by broadening the scope of the play to challenge our notions of memory and interpersonal relationships.

The four principals all give adequate performances, but stronger supporting characters are well portrayed by Maggie Huculak who brings a brisk warmth to her performance as a caregiver who actually does care, and Barbara Gordon who provides comic relief as Agnes, a crusty women determined to drag the entire world to suffer through her old age pains.

Half Life unfortunately comes across as half a play, better suited to a Fringe festival format rather than as a featured production. The space is ill suited for the intimacy required to enable the characters to properly ingratiate themselves with their audience. The lighting design, although among the best I’ve ever seen at this space, is so good that it distracts from the performances. While the limited audience that the play appeals too wait to receive the next social message being delivered by the characters salt and peppered humorous lines are sprinkled throughout the short play to ensure that they remain alert through each of the endless elaborately choreographed transitions that overshadow the scenes themselves.  The play leaves the impression that a pile of clever ideas were placed in a bag of shake and bake and a production then spilled out onto the stage but the bread crumbs didn't adequately coat and flavor those ideas.

The play would benefit from less effort to deliver socially relevant rhetoric to justify the significance for the message, and more attention to entertaining with substance in the dialogue. This would have made the delivery of the message that much more poignant. Half Life a presentation by Necessary Angel productions is playing at Centaur Theatre.

There is nothing yesterday about Atonement as it blows the dust off the historical drama.

Written, directed, filmed and acted to perfection, Atonement sweeps you up on waves of humor, heartbreak and romance. The film moves from the country estate of a wealthy British family in 1935, through the World War II battlefields of Dunkirk, and to the end of the twentieth century, with a haunting end.

This erotic tale is not just a period piece. It deals with what's timeless about passion, art and redemption. Robbie Turner, portrayed with precision by James McAvoy, is the son of the family housekeeper. At first he can't find words to express his longing for Cecilia Tallis, the daughter of privilege who ignores him. Cecilia played by the Keira Knightley blends beauty and tension to stunning effect. Robbie's fixation is understandable.

Wright and Christopher Hamptons script is a model for a screen adaptation; they show great skill in building the carnal tension within the scenes, which make up the first third of Atonement, and transform the novel and McEwan's prose into images that burn in the memory.

The story is seen entirely through the character Briony’s eyes… played by Saoirse Ronan who is breath taking and is the film's glory. This is great Oscar worthy acting.

As Atonement shifts into the battlefield, McAvoy and Knightley deepen their performances. They are amazing acting partners, convincingly believing in the primacy of love. Wright speaks in fresh, startling ways to a new generation.

Wright brings Atonement back to words with the force of ideas behind them. Ending with an older Briony (Vanessa Redgrave) who is giving a TV interview about her latest novel, she is held in a close-up where she demonstrates what great acting is. She reflects on life's tendency to wound and art's propensity to heal; Begging us to ask can we find redemption through art?

Licensed to pee… Urinetown isn’t afraid to piss of it’s audience.

Urinetown is a light fare satirical comedy musical, though it remains demanding musically. The premise of this Tony Award-winning production is set in a world where water is at a premium and citizens are charged to use public toilets; Privately owned urinals controlled by the Urine Good Company which are the only spots to relieve oneself. The world is full of harsh laws that guarantee the citizens pay to pee or be forcibly sent to the penal colony: Urinetown where they disappear forever.

Although the premise on the surface is ridiculous, the songs are pure musical theatre and very well written. Urinetown is not so much a parody as it is an homage to musicals. The more you love musicals, and the more you know about them, the more you'll enjoy Urinetown. Poking fun at capitalism, socialism, bureaucracy, corporate mismanagement, and petty small town politics, Urinetown rejects musical theatre convention. Then in reverse pantomime style, the unconventional plot line shatters audience expectations of a pleasant ending when the poor revolt and they perform an Evita-style song which grows into a mock finale from Les Miserables.

Most will recognize references to such classics as: The Three Penny Opera, Fiddler on the Roof, and West Side Story; it would also help if you're familiar with Showboat, Oliver!, Sweeney Todd, How to Succeed in Business Without Really Trying, Godspell, Guys and Dolls. Though, you don't need to know all these references to enjoy the show, the music, the choreography and vibrant performances delivered by the talented cast. The actors portray their circus like characters larger than life, sometimes with cartoon flare that panders well with the very youthful crowd seated in the audience.

The corrupt tycoon, who has a monopoly on public toilets and just keeps raising the rates named Caldwell B. Cladwell is played brilliantly by the very enjoyable Michael Summerville.

Bobby Strong played by the lanky yet energetic Brendan Doherty, is a pauper with a revolutionary's heart who falls in love with the mogul's daughter Hope Cladwell portrayed by Lexy Campbell (a perfect stage name if ever there was one).

The urinal mistress inspired by the character Mrs. Lovett from Sweeney Todd, Penelope Pennywise, is played by Corine Baker with powerhouse vocals and bravado.

Also deserving mention is the deliberately dry deadpan yet subtly comical interpretation of Officer Lockstock by Mark Piggott.

Directors (Kara Fletcher & Jessica Kostuck) retained the original script and the musical score; Their seamless direction is to be commendable for such an ambitions production and large cast (18). Costume designer Kaleigh Briggs dresses the cast in 1930s costumes which gave the production a well textured feel and more classical look, but the venture was unbalanced and distracting when the actors weren’t outfitted consistently in the same period. Finally worthy of note are the lighting design of Erik Koopmans and musical direction of Jennifer Yang which married well with the space and the piece.

The Musical was presented by McGill University's community theatre, the Arts Underground Theatre Society. It ran from Jan. 23 – 26 2008 at the Moyse Hall McGill University Arts Building. With tickets priced at only 10 for students and $12 for adults this was great entertainment for our rising loony.

CYCLOPS is missing more than one eye...

It was missing more than one eye; the ‘great reviews and buzz’ and the motivation behind it genuinely concern me... This is the latest production from Rabbit In A Hat for the 'original' musical-play, written, directed, and starring Paul Van-Dyke.

The plot is basically the secret fantasy love-life of a psychiatric patient called Ballor (Neil Napier). Set in two worlds: the so defined as 'real' world and Ballor’s imaginary 'fantasy' world. The play attempts to explore how mental illness can distort reality into something grotesque and or absurd. The original script fortunately allows the audience to decide which is which.

I barely smiled let alone laughed during the 70 minutes. In fact the sporadic laughs heard throughout the theatre were as inaudible as the lyrics in the songs; which were clever. The instrumental live music to often overpowered the lyrics (of which I could only catch every 4th word) and songs were occasionally delivered off key; in a musical this is unpardonable! Always mike your vocalists!

Was pleasantly surprised to see Neil Napier in this production. Although he is well cast for the part, and he did his usual stellar job, the material was beneath the caliber of his talent. The rest of the cast, with the exception of course of PVD were less than adequate, delivering lack luster performances with little energy and believability.

The production was in dire need of an extra EYE... that of an experienced director. Although PVD the performer does successfully reinforce our fear of clowns, and his physical timing spot on most of the time, there was an obvious lack of basic direction when it came to the other players and overall production. It took over half an hour into the play before the audience obviously started to appreciate what was being presented. Pacing was off, blocking was sloppy and transitions were anything but seamless.

So what does all the positive 'buzz' really mean? The players themselves are very popular no doubt. Material and a concept in and of themselves, regardless of how original they present themselves as being, should not have to break all the rules and basic principles of a musical production; Never cut on the quality and content and delivery of that material.

A very ambitions project to be sure, it would have been much more appropriate if it had been scheduled as a part of the Centaur's children's series. Would they (children aged 10+) have understood, the worlds PVD creates here. Surely we're not smarter than our 5th graders when it comes to something this simplistic. They would have been far more appreciative and forgiving than this theatergoer to be sure.