The play written and directed by Anna Roth Trowbridge is an episodic, memory-driven play. With extreme shifts in mood and tempo the production creates an air of both folklore driven and mysterious suspense imagery. These contrasts are also reflected in the lighting and textures of the set design.
The performances by Cory Lipman and Alexandra Montagnese are interesting to watch however they too often leave us questioning the character's true motivations and therefore the playwright's real intentions. Although there are moments of clever creativity a lack of full commitment is evident throughout the production. We are taken somewhere, then teased, and removed to quickly and too frequently to ever really relish in any given moment. One stand out example of this holding back is when in one scene full nudity would have been required to completely deliver the message and enhance the performance, only we are given a cheat scene instead of the real thing. Since the playwrite is the director one can only attribute the blame to one person.
A good attempt at a potentially great concept, more appropriate for a Fringe stage audience.
Playing at Player Theatre McGill SSMU Bldg. feb. 12th - 14th. foh.players@gmail.com
Friday, January 30, 2009
Tuesday, January 27, 2009
Alan's Search For The Best Girl In Montreal @ Theatre 314
Alan's Search for the Best Girl in Montreal @ Theatre 314 to Sat. Feb. 21st.
If 'Sex and the City' is a chick flick then this play, the polar opposite, must be a 'dick' flick'; but not, because that would make it 'gay porn'. So how to qualify this very cleverly written and performed play by Adam Kelly: A one man show or stand-up / story telling, a musical? Not just one and all apply...
The storytelling is supported by a very strong cast of local talented actresses: Hilary Keithlin, Léanna Glance, *Rosaruby Glaberman, (*love that name) and Patricia Manessy. There is a lot of stand up (even some cat calls and some audience participation to accompany the lead actor) and plenty of story telling style, and thrown in for good measure, some live music, song, and dance...even a few tastefully inserted yet somewhat campy special effects (Paris's Tour Effel was a real stretch) and although that is a contradiction, it all makes sense when you 'participate' in the journey of Alan's search for a 'relationship' with someone he can love and who can love him back.
Some will find many moments rather self indulgent, but hey, it is told from a heterosexual male anxiety perspective, so self-gratification is to be expected. If you like your theatre, highbrow, tight, and uncontroversial, then this isn’t the play for you. It will send the feminists running in their steel-toed construction boots for the old freight elevator. No real need to qualify this play; if you're able to keep an open mind, everything in perspective, and just go along for the ride, then you'll have a hoot and a holler!
The pacing is slow and there are a few rough transitions but this may improve with more performances. It does run too long at over 2:30 with the intermission. Which is difficult enough with the uncomfortable squeeky dig in your back folding chairs. But with a few beers from the adjacent (at arms length) bar, and the proximity of the bathrooms (a few steps away), you can easily compensate for this. A must see for Mom's who are now empty nesters having lost their progeny to the forces of single male independence.
Go See It!
Theatre 314, Ungava Bldg. 10 Pine W. 3rd floor.
If 'Sex and the City' is a chick flick then this play, the polar opposite, must be a 'dick' flick'; but not, because that would make it 'gay porn'. So how to qualify this very cleverly written and performed play by Adam Kelly: A one man show or stand-up / story telling, a musical? Not just one and all apply...
The storytelling is supported by a very strong cast of local talented actresses: Hilary Keithlin, Léanna Glance, *Rosaruby Glaberman, (*love that name) and Patricia Manessy. There is a lot of stand up (even some cat calls and some audience participation to accompany the lead actor) and plenty of story telling style, and thrown in for good measure, some live music, song, and dance...even a few tastefully inserted yet somewhat campy special effects (Paris's Tour Effel was a real stretch) and although that is a contradiction, it all makes sense when you 'participate' in the journey of Alan's search for a 'relationship' with someone he can love and who can love him back.
Some will find many moments rather self indulgent, but hey, it is told from a heterosexual male anxiety perspective, so self-gratification is to be expected. If you like your theatre, highbrow, tight, and uncontroversial, then this isn’t the play for you. It will send the feminists running in their steel-toed construction boots for the old freight elevator. No real need to qualify this play; if you're able to keep an open mind, everything in perspective, and just go along for the ride, then you'll have a hoot and a holler!
The pacing is slow and there are a few rough transitions but this may improve with more performances. It does run too long at over 2:30 with the intermission. Which is difficult enough with the uncomfortable squeeky dig in your back folding chairs. But with a few beers from the adjacent (at arms length) bar, and the proximity of the bathrooms (a few steps away), you can easily compensate for this. A must see for Mom's who are now empty nesters having lost their progeny to the forces of single male independence.
Go See It!
Theatre 314, Ungava Bldg. 10 Pine W. 3rd floor.
Sam Shepard's Buried Child @ Segal Center to February 22nd.
Sam Shepard’s 1979 Pulitzer Prize-winning Buried Child is now playing at The Segal Center. With such critical and box office successes like: True West (1980), Fool for Love (1983) and Lie of the Mind (1985) Shepard is considered to be the second most frequently produced American playwright in the USA after Tennessee Williams. He is also attribute with the honor of following in the footsteps of such well-established American playwright icons as Eugene O'Neill and Edward Albee. This production of Buried Child is essentially the same play as the original with adaptations that were previously presented south of the border in the mid-1990’s. Apparently he streamlined the play to make it more ambiguous in some parts and more clarified in others.
The casting is exceptional and praise Rachelle Glait and Peter Hinton for it is the actor’s that save this production from being 'buried alive', proving once again that, even if you don’t care for the actual play, good strong actors can keep it entertaining. The most standout performances are delivered by David Fox (Dodge) and Alex Ivanovici (Bradley). The costuming is very well conceived by Eo Sharp, as are some of the special stage effects. The sound track and special sound effects, designed by Troy Slocum, are at times 'over kill' and seem very deliberate making it harder to stay focused on the dialogue. The stage set design, also by Sharp, is mysterious and daunting when you first enter the theatre and the use of lighting, designed by Robert Thompson, is also very impressive creating an almost frigid climate for this cold play (pun intended). One has the impression that we are in a huge Mac truck refrigerated wooden pallet lined container. The design does eventually over-shadow the play however, and the lighting becomes a distraction, especially for those who are seat in the side balconies.
I recently had to read and to analyze this play, and suffered throughout the process. It is no big surprise to note that I don’t like the play, nor that I am not a big fan of Shepard’s work. I went hoping to be converted. Although during the 1st act I was coming over to the other side, appreciating both the subtle humor and the wit of the writing and natural comedic timing of the actors, but the play does eventually become too slow paced and the 2nd act reaches out too far on the dark side remaining too ambiguous and not clear enough for me to appreciate it.
Sam Sheppard’s updated version of Buried Child continues at the Segal Centre for Performing Arts to Feb. 22. Saidye, 5170 Côte Ste. Catherine Rd. Ticket info at 514-739-7944, admission.com or 514-790-1245
The casting is exceptional and praise Rachelle Glait and Peter Hinton for it is the actor’s that save this production from being 'buried alive', proving once again that, even if you don’t care for the actual play, good strong actors can keep it entertaining. The most standout performances are delivered by David Fox (Dodge) and Alex Ivanovici (Bradley). The costuming is very well conceived by Eo Sharp, as are some of the special stage effects. The sound track and special sound effects, designed by Troy Slocum, are at times 'over kill' and seem very deliberate making it harder to stay focused on the dialogue. The stage set design, also by Sharp, is mysterious and daunting when you first enter the theatre and the use of lighting, designed by Robert Thompson, is also very impressive creating an almost frigid climate for this cold play (pun intended). One has the impression that we are in a huge Mac truck refrigerated wooden pallet lined container. The design does eventually over-shadow the play however, and the lighting becomes a distraction, especially for those who are seat in the side balconies.
I recently had to read and to analyze this play, and suffered throughout the process. It is no big surprise to note that I don’t like the play, nor that I am not a big fan of Shepard’s work. I went hoping to be converted. Although during the 1st act I was coming over to the other side, appreciating both the subtle humor and the wit of the writing and natural comedic timing of the actors, but the play does eventually become too slow paced and the 2nd act reaches out too far on the dark side remaining too ambiguous and not clear enough for me to appreciate it.
Sam Sheppard’s updated version of Buried Child continues at the Segal Centre for Performing Arts to Feb. 22. Saidye, 5170 Côte Ste. Catherine Rd. Ticket info at 514-739-7944, admission.com or 514-790-1245
Shirley Valentine @ Centaur is BRILLIANT! EXHILARATING! UNFORGETTABLE!
BRILLIANT! EXHILARATING! UNFORGETTABLE! are just a few adjectives that accurately describe this production of Shirley Valentine. The play was written in 1988 by Willy Russell (Educating Rita 1981), both of these plays were made into films and both received Oscar nominations, has been cleverly updated with some 21st century pop culture references. B.C.'s Nicola Cavendish (Michel Tremblay's For The Pleasure of Seeing Her Again) dazzles the audience in this award-winning performance (Jessie Richardson Award and Dora Mavor Moore Award for Outstanding Performance) as the central feature in this one women (one person) performance. Directed by Centaur's artistic director *Roy Surette this production is flawless in it's staging: light, costume, set, special effects design and ingenious blocking. Who would have ever thought so much could be achieved with just something so simple as the flick of a curtain.
Most of us know the film version of this story about fulfillment, as it appears frequently on cable TV, but it is in the rich text of the play that one truly captures the full essence of the plight of Shirley; her discovery of a life beyond her Manchester kitchen and rediscovery of herself, the sassy and tenacious Ms. Valentine. Don't be dissuaded from this production by the usual stigma attached to a one person performance, Nicole Cavendish brings enough creative energy and bodacious personality to her captivating interpretation to completely fill an ensemble cast. This is a performance that is truely transcendant to all demographics: male to female, young to old.
If you don't eat before the performance, like I did, you will revel at her on stage cooking skills turning the simple task of preparing and frying chips on stage into a culinary performance art form. So delectable is the finesse with which she prepares for tea that I can predict a flood of audience members heading directly to their local electric appliance store to purchase a 'Moulinex Supralys' deep fryer with their surplus C.T. dollars or left over bonus points accrued from their recent holiday season sale purchases. Talk about an economic stimulus package. Shirley Valentine playing at Centaur to February 22nd is an absolute treat and a must see play for Montreal theatre goers. Go See It!
* The USA opted for "change" in the 21st century on January 20th when Obama was sworn into office; With each new production at Centaur it becomes even more abundantly clear that with Roy Surette at the helm, and now deeply embedded into the Centaur house, that his appointment as artistic director was indeed "change we need".
Most of us know the film version of this story about fulfillment, as it appears frequently on cable TV, but it is in the rich text of the play that one truly captures the full essence of the plight of Shirley; her discovery of a life beyond her Manchester kitchen and rediscovery of herself, the sassy and tenacious Ms. Valentine. Don't be dissuaded from this production by the usual stigma attached to a one person performance, Nicole Cavendish brings enough creative energy and bodacious personality to her captivating interpretation to completely fill an ensemble cast. This is a performance that is truely transcendant to all demographics: male to female, young to old.
If you don't eat before the performance, like I did, you will revel at her on stage cooking skills turning the simple task of preparing and frying chips on stage into a culinary performance art form. So delectable is the finesse with which she prepares for tea that I can predict a flood of audience members heading directly to their local electric appliance store to purchase a 'Moulinex Supralys' deep fryer with their surplus C.T. dollars or left over bonus points accrued from their recent holiday season sale purchases. Talk about an economic stimulus package. Shirley Valentine playing at Centaur to February 22nd is an absolute treat and a must see play for Montreal theatre goers. Go See It!
* The USA opted for "change" in the 21st century on January 20th when Obama was sworn into office; With each new production at Centaur it becomes even more abundantly clear that with Roy Surette at the helm, and now deeply embedded into the Centaur house, that his appointment as artistic director was indeed "change we need".
The Real Inspector Hound @ MainLine an early Valentine's treat!
If you are just thinking about attending "The Real Inspector Hound", @ MainLine until February 14th, do not wait until Valentine's Day for this sweet treat. This Tom Stoppard play is produced by MainLine and is directed by Jeremy Hechtman. It features a bevy of local talents including: Paul Van Dyck*, Brian Wrench*, Léa Rondot, Dan Jeannotte, Heidi Hawkins*, Michelle Bobeck*, Patrick Goddard, and Shawn Baichoo*, five of whom appear thanks to Canadian Actor's Equity.
Tom Stoppard originates from Czechoslovakia where he was born on July 3, 1937. He lived in Singapore, India eventually immigrating to England in 1946. He left high school to become a journalist and became a drama critic in the early 60's. His affinity, or lack thereof, surfaces in this play -but I digress. He discovered a talent for playwriting and it was his play "Rosencrantz and Guildenstern', (1967) based on two minor characters in Shakespeare's play Hamelet, that was immediately hailed as a modern dramatic masterpiece. Stoppard has also written a number of screenplays including: Empire of the Sun (1987), Billy Bathgate (1991), Brazil (1985) was nominated for an Academy Award and he won an Oscar for "Best Screenplay" for Shakespeare in Love (1998).
I can honestly say that I've never seen the space at MainLine look better; from the moment we enter we are hit with a sense that something special is going to happen; and it does. I can add that it is the best production that I have ever seen presented at the venue as well. Razor sharp precision of the delivery in the performances; Pushing 'camp' to the extreme limit without crossing the line into 'campy'. The use of space and blocking are spot-on as are the costumes and limited yet sufficient stage decorations and props. All set in the true tradition of a New York studio production. All the characters that are performed are great but the stand outs to me were those played by Paul Van Dyke, Brian Wrench, and Léa Rondot as Moon and Birdboot, and Mrs. Drudge respectively, all were just hysterically funny.
Since it is a murder mystery I won't give away any secrets here, but it is no secret that this show will sell out, especially with such limited seating in the intimate setting. So do not wait to "Go see it!" Call 514 849-3378 or visit www.mainlinetheatre.ca
Tom Stoppard originates from Czechoslovakia where he was born on July 3, 1937. He lived in Singapore, India eventually immigrating to England in 1946. He left high school to become a journalist and became a drama critic in the early 60's. His affinity, or lack thereof, surfaces in this play -but I digress. He discovered a talent for playwriting and it was his play "Rosencrantz and Guildenstern', (1967) based on two minor characters in Shakespeare's play Hamelet, that was immediately hailed as a modern dramatic masterpiece. Stoppard has also written a number of screenplays including: Empire of the Sun (1987), Billy Bathgate (1991), Brazil (1985) was nominated for an Academy Award and he won an Oscar for "Best Screenplay" for Shakespeare in Love (1998).
I can honestly say that I've never seen the space at MainLine look better; from the moment we enter we are hit with a sense that something special is going to happen; and it does. I can add that it is the best production that I have ever seen presented at the venue as well. Razor sharp precision of the delivery in the performances; Pushing 'camp' to the extreme limit without crossing the line into 'campy'. The use of space and blocking are spot-on as are the costumes and limited yet sufficient stage decorations and props. All set in the true tradition of a New York studio production. All the characters that are performed are great but the stand outs to me were those played by Paul Van Dyke, Brian Wrench, and Léa Rondot as Moon and Birdboot, and Mrs. Drudge respectively, all were just hysterically funny.
Since it is a murder mystery I won't give away any secrets here, but it is no secret that this show will sell out, especially with such limited seating in the intimate setting. So do not wait to "Go see it!" Call 514 849-3378 or visit www.mainlinetheatre.ca
Tuesday, January 20, 2009
Can You See Me Yet? 1930's depression hits close to home...
As the Wild Side Festival at Centaur closes this weekend, with a ticket price from $10 to $12.50 per performance, one might be wondering how one can afford to go see more plays before the next affordable annual festival, the Fringe in June. As the official English Theatre winter season opens next week, with plays at Centaur, Segal Center and MainLine, and ticket prices climbing do to increased costs from funding and sponsorship cuts, we are all searching for some affordable theatre for these recessionary times. This is when we can go back to enjoy and support our grass roots amateur community theatre productions. Performances at the Players Theatre, like Can You See Me Yet?, can be enjoyed for as low a price as you'll find anywhere in the city, from $6 to $8. With very comfortable clean seats, plenty of leg room in the aisles, clean floors, and large clean bathrooms, inexpensive refreshments at the concession stand at $1, this intimate black box, with sufficient lighting and sound, comfortably seats only 103, so you might want to get your tickets in advance when attending productions.
Published in 1977, Can You See Me Yet?, written by Timothy Findley, examines life within an Ontario asylum during the depression era, in a world on the brink of war. Cassandra Wakelin (Alice Martin-Ellwood) is a new patient in the asylum, who confuses her fellow inmates with members of her own family. The honesty of the play and the vulnerability of its characters are well portrayed by the talent and flexibility of the cast where strong character-building is evident in each member of the ensemble. It was consistent and believable for the entirety of the over two and half hour (including intermission) play, from the small mannerisms of a character to the mere ability to be present on stage for most of the entire performance and not detract from the main focus in a scene. This was most obvious in the case of the physically challenging and well-disciplined role of Doberman (Charles Depman), a patient who believes he is a dog. And also with Clare (Gregory Vandemark) who played the role with an energy consistent and comparable to the performance of Brad Pitt in the film '12 Monkeys'. The costumes and set are both sufficient to the period and the use of space was well plotted by director Mike Lake.
Can You See Me Yet?
Closes tonight Jan. 24th 8pm. Tickets: 8$ reg. 6$ students.
Performed at the:
McGill Student Services Building
3480 McTavish, 3rd Floor
Montréal, Québec H3A 1X9, Canada
514-398-6813
Players' Theatre contact
foh.players@gmail.com
Published in 1977, Can You See Me Yet?, written by Timothy Findley, examines life within an Ontario asylum during the depression era, in a world on the brink of war. Cassandra Wakelin (Alice Martin-Ellwood) is a new patient in the asylum, who confuses her fellow inmates with members of her own family. The honesty of the play and the vulnerability of its characters are well portrayed by the talent and flexibility of the cast where strong character-building is evident in each member of the ensemble. It was consistent and believable for the entirety of the over two and half hour (including intermission) play, from the small mannerisms of a character to the mere ability to be present on stage for most of the entire performance and not detract from the main focus in a scene. This was most obvious in the case of the physically challenging and well-disciplined role of Doberman (Charles Depman), a patient who believes he is a dog. And also with Clare (Gregory Vandemark) who played the role with an energy consistent and comparable to the performance of Brad Pitt in the film '12 Monkeys'. The costumes and set are both sufficient to the period and the use of space was well plotted by director Mike Lake.
Can You See Me Yet?
Closes tonight Jan. 24th 8pm. Tickets: 8$ reg. 6$ students.
Performed at the:
McGill Student Services Building
3480 McTavish, 3rd Floor
Montréal, Québec H3A 1X9, Canada
514-398-6813
Players' Theatre contact
foh.players@gmail.com
Monday, January 19, 2009
The WildSide @ Centaur January 13-25, 2009.
Take a walk on the wild side at Centaur Theatre this week and enjoy some short and sweet, and some bitter sweet, moments to warm up those seats in the theatre this cold January. A reasonably priced event: individual tickets are 12.50$ and a five play pass is 50$ and only 40$ (8$ per play) students and seniors, this is a great way to sample some up and coming new work and talent. The 12th season features 7 'cutting-edge' productions, from Montreal and one from Australia. Many (4) were previously presented at the Fringe: The Sputniks, Zeppelin Was A Cover Band, Die Roten Punkte, and Sahara Crossing which is now on its third round on stage.
I saw The Ballad of the Young Offender written and performed by MECCA Award winner Patrick Costello. A short play at 34min. A collage of rock'en roll mythology it takes on maybe a little more than the time allows for, yet is still well staged and equally well performed.
One evening I saw both Die Roten Punkte and The Sputniks- Talk about an emotional rollercoaster...one left me with tears of laughter and the second with emotional tears. Both were exceptionally well written and performed by the respective artists.
The Sputniks was my pick of the 2008 Fringe (see reviews below) and I thought I knew it already but I am so glad I went back to see it again. I was enthralled by the flawless performance of Elison Zasko from the top to the finish as she portrays seven characters with humility and raw purity. She left us, the audience, as worn as she must be after such a physical and emotional performance.
Die Roten Punkte is pure performance art- if you like, clowns, punk-rock & roll, burlesque, and hysterical dry humor, then an evening with Astrid (a plump temptress) and Otto (a sexy clown) Rot will tickle your fancy (and a few other of your body parts) and entertain you to new heights. The pair of siblings rival for our attention, and sympathy and for our laughs for over an hour, transporting us 'à la Rocky Horror' into their world of robots and lions, a real absurd rock & role "Super Musikant" odyssey. The artists show us in an obvious way that they're having too much fun enjoying a performers' favorite world- being a rock star and being an actor: dancer and singer and musician. Dare to go there! (I actually went back to see them perform again and enjoyed the show; However, it does feed off the energy of the audience and therefore some elements of their performance will vary depending on the crowd.
I saw The Ballad of the Young Offender written and performed by MECCA Award winner Patrick Costello. A short play at 34min. A collage of rock'en roll mythology it takes on maybe a little more than the time allows for, yet is still well staged and equally well performed.
One evening I saw both Die Roten Punkte and The Sputniks- Talk about an emotional rollercoaster...one left me with tears of laughter and the second with emotional tears. Both were exceptionally well written and performed by the respective artists.
The Sputniks was my pick of the 2008 Fringe (see reviews below) and I thought I knew it already but I am so glad I went back to see it again. I was enthralled by the flawless performance of Elison Zasko from the top to the finish as she portrays seven characters with humility and raw purity. She left us, the audience, as worn as she must be after such a physical and emotional performance.
Die Roten Punkte is pure performance art- if you like, clowns, punk-rock & roll, burlesque, and hysterical dry humor, then an evening with Astrid (a plump temptress) and Otto (a sexy clown) Rot will tickle your fancy (and a few other of your body parts) and entertain you to new heights. The pair of siblings rival for our attention, and sympathy and for our laughs for over an hour, transporting us 'à la Rocky Horror' into their world of robots and lions, a real absurd rock & role "Super Musikant" odyssey. The artists show us in an obvious way that they're having too much fun enjoying a performers' favorite world- being a rock star and being an actor: dancer and singer and musician. Dare to go there! (I actually went back to see them perform again and enjoyed the show; However, it does feed off the energy of the audience and therefore some elements of their performance will vary depending on the crowd.
Thursday, January 8, 2009
2008 was a pretty good year: losses & gains...
Invariably I'd get down to finally listing my favorite and most notable things about the past year... 2008 was a pretty good year -with some hard losses & major gains...
Trying to avoid a 'top ten' list was difficult with so much going on...the ups and downs on stage and in life were as fluctuating as the markets...but I digress. Here are my lists, the long and short of them for 2008:
Although I don't normally review or comment on films, the award season is one of my favorite passions and guilty pleasures. To enjoy them even more I actually see the films in cinemas and of course rent copious amounts of DvD's. Christmas holiday season being when I do most of my marathon viewing. Admittedly I still have a few on my list to see, but from what I've seen so far I am able to list the favorites.
In no particular order: Iron Man; Frost versus Nixon; Benjamin Button; Doubt; Milk; Slum Dog Millionaire; Leaving Shara Marshall; Mama Mia; Dark Knight; Kung Fu-Panda. My favorite Imagine & Nation film: C.I.A.O. And my favorite film for 2008 was WALL-E.
This leads me to our greatest losses in the industry in 2008: Roy Scheider; Anthony Minghella; Richard Widmark; Sydney Pollack; George Carlin; Harvey Korman; Estelle Getty; Paul Newman; Eartha Kitt; Bernie Mac. The biggest loss for me was naturally: Heath Ledger.
People who made a mark / marked my existence most in 2008: Kristina Sandev; Pamela Pachal; Tim Evanicki; Eric Pineault; Robert Vezina; Guy Millet; Sam Dahdal; Jane Needles; Hillary Clinton; Barrack Obama. The person who marked my life the most is the person who literally saved it, on June 23rd @ 21:30: my husband, Ricky Smith.
And now for what you've all been waiting for; the top ten picks in local theatre for Dee Arr:
In no particular order...
@ CENTAUR, Sky Dive; Life Is A Dream; Maddy Heisler.
@ D.B. Clarke, Dulcinea's Lament.
@ McGill, The Importance Of Being Earnest; Urinetown.
@ La Chapelle, Down Dangerous Passes Road.
@ Gesu, Altar Boyz.
@ Segal, Cat on a Hot Tin Roof; The Odd Couple.
Top Fringe pick is: A tie, Dishpig & Sputniks.
Top Harvest pick is: Fluid.
Top pick for 2008 Montreal theatre season is: I Claudia - studio space, Segal Center.
If your not on the above list it doesn't mean that you didn't affect me in some positive way with your art. No one sets out to mount a 'bad' show. It is all subjective to the observer. I think that my reviews 'speak' for themselves.
I'm not sure why it turned out that my top favorites were all one (1) person productions with little to no set and a running time of under 90 minutes. Maybe it was the simplicity in a very tumultuous and emotionally roller coaster year.
Trying to avoid a 'top ten' list was difficult with so much going on...the ups and downs on stage and in life were as fluctuating as the markets...but I digress. Here are my lists, the long and short of them for 2008:
Although I don't normally review or comment on films, the award season is one of my favorite passions and guilty pleasures. To enjoy them even more I actually see the films in cinemas and of course rent copious amounts of DvD's. Christmas holiday season being when I do most of my marathon viewing. Admittedly I still have a few on my list to see, but from what I've seen so far I am able to list the favorites.
In no particular order: Iron Man; Frost versus Nixon; Benjamin Button; Doubt; Milk; Slum Dog Millionaire; Leaving Shara Marshall; Mama Mia; Dark Knight; Kung Fu-Panda. My favorite Imagine & Nation film: C.I.A.O. And my favorite film for 2008 was WALL-E.
This leads me to our greatest losses in the industry in 2008: Roy Scheider; Anthony Minghella; Richard Widmark; Sydney Pollack; George Carlin; Harvey Korman; Estelle Getty; Paul Newman; Eartha Kitt; Bernie Mac. The biggest loss for me was naturally: Heath Ledger.
People who made a mark / marked my existence most in 2008: Kristina Sandev; Pamela Pachal; Tim Evanicki; Eric Pineault; Robert Vezina; Guy Millet; Sam Dahdal; Jane Needles; Hillary Clinton; Barrack Obama. The person who marked my life the most is the person who literally saved it, on June 23rd @ 21:30: my husband, Ricky Smith.
And now for what you've all been waiting for; the top ten picks in local theatre for Dee Arr:
In no particular order...
@ CENTAUR, Sky Dive; Life Is A Dream; Maddy Heisler.
@ D.B. Clarke, Dulcinea's Lament.
@ McGill, The Importance Of Being Earnest; Urinetown.
@ La Chapelle, Down Dangerous Passes Road.
@ Gesu, Altar Boyz.
@ Segal, Cat on a Hot Tin Roof; The Odd Couple.
Top Fringe pick is: A tie, Dishpig & Sputniks.
Top Harvest pick is: Fluid.
Top pick for 2008 Montreal theatre season is: I Claudia - studio space, Segal Center.
If your not on the above list it doesn't mean that you didn't affect me in some positive way with your art. No one sets out to mount a 'bad' show. It is all subjective to the observer. I think that my reviews 'speak' for themselves.
I'm not sure why it turned out that my top favorites were all one (1) person productions with little to no set and a running time of under 90 minutes. Maybe it was the simplicity in a very tumultuous and emotionally roller coaster year.
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