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!