IMAGE&NATION XX11,

October is LGBT History Month so it is fitting that IMAGE&NATION is holding their 22nd season October 22 to 01 November this year. Back at the familiar venues of: Imperial, Goethe-Institute, and de Seve this season features over 50 films in eleven days and nights. There are options from single tickets to multiple ticket passes for the avid movie goer.

I've seen some good films over the years but never have I seen so many consistently great films as this season. Here are a few coments on those that I've seen to date:

DREAM BOY; Coming out to yourself, boy love story with a sentimental twist. 3.5 chubbies.

REDWOODS; A beautifully photographed production, slow and steady moving story of love, fidelity and loyalty. A real twist ending that will bring a tear to your eye. 4.5 chubbies.

DARE; Originally presented as a short film that won awards, it has had an evolution and is now a full feature. Definitely should be seen by adolescents and is appealing for all. A cast of familiar faces who deliver quality performances. 5 chubbies.

OY VEY! MY SON IS GAY; Filled with star power, kitch and cliché, this is very funny take on coming out to the family. Reminisant of the Italiano culture shocker 'Mambo Italiano' this time fusing Italian with Jewish. 4.5 chubbies.

BEYOND GAY: The politics of Pride; This is why we still need and have pride events. If we don't continue to fight for the equal rights as citizens of the world, we could loose them. 4 chubbies.

EATING OUT #3: All you can eat; An appetizing guilty pleasure... -A high level camp farce that is well cast with great eye candy and performances. Hysterically laugh out loud fun! +5 chubbies.

Planning to take in a few more films this week: SHANK 3 chubbies; PORNOGRAPHY 4 chubbies. There are plenty of choices and numerous foreign language presentations scheduled. Go to image-nation.org for programming information.

Pillowman, will not put you to sleep peacefully...

The PILLOWMAN by Martin McDonagh, is the latest creation by director Frances Balenzano's Fallen Angle Productions (FAP). If you go to two plays this week, since I've already plugged 'Haunted', or if you've already seen that play and are wanting even more haunting suspenseful drama on stage then get on down to Theatre Ste-Catherine, now under new ownership btw, and check out 'The Pillowman'. This play was first presented in London UK in 2003, and then on Broadway USA in 2005. The company asks: "Are you prone to nightmares?" ... The Pillowman speaks to fears people incorrectly think they have long left behind. In this dark and twisted world, faint lines between reality and fiction force us to face the dangerous power of literature. The Pillowman resurfaces the significant point that in a good story one should never be able to tell what happens next.

Balenzano uses the space to the maximum in the staging of the play; this is made even more evident in the Intricate set and light design of Paul Chambers and Cara de Grandpré respectively. The cast of local talent, and FAP regulars, includes: Shawn Baichoo, Brad Carmichael, Tim Dimond, Rick Bel, and Cristina Vincent. All of the performances are very well 'executed', pardon the pun, (not to give anything away), but at times some do come across as rather one note making it difficult to relate to them or wanting make any connection. Shawn Baichoo's character (Tupolski) on the other hand stands out as having the most interesting journey in the story as well as the most clever lines and he delivers them with impeccable comedic timing as well as presenting us with an equally entertaining monologue. His interpretation of the character is flawless and he captivates our attention throughout, we never tier of him and he leaves us wanting more. When he's asked how he prepared for the role, he replies modestly giving all of the credit to the director. "When I first get the text I see it in my mind one way and question how it will turnout. But Frances has a very clear and creative vision... -she relates it back to the actor very precisely making it easier to interpret and translate back to the audience...."

It's no big secret that I'm a big fan of Balenzano's work, having seen all but one of FAP productions; 'Monster' still being my all time favorite, and she doesn't disappoint here by either bring unexpected special effects, by George Tucci, and plenty of delightful and memorable moments. Spoiler alert: (There is smoking during the play, something I'm not a fan of, but if you sit in the middle or to the rear of the space you won't be bothered by it). It'll be no surprise that I recommend this one, it is not a trick but a real treat, so this Halloween week you should all try to... GO C IT!

HAUNTED @ St-James Church

The Great Amherst Mystery” Brought to Life - World Premier -

DEATH: “…the undiscovered country from whose bourn no traveler returns”…or do they?

Presented by Rabbit In A Hat, HAUNTED is set in the small town of Amherst, Nova Scotia in 1879, nineteen-year-old Esther Cox hears voices and is the victim of threatening messages written on her bedroom wall after a strange encounter with her beau in the marshes one night. A simple and unassuming life spirals headlong into a macabre nightmare. With the medical experts baffled, the religious community helpless, and Esther imprisoned for crimes committed by the poltergeist, can her soul be saved? As extraordinary as it sounds, it’s all true!

If you see just one play this week, make it 'Haunted'. Perfectly 'spookylishous' for Halloween week. All of the performances are strong and entertaining; Catherine Bérubé's delivres a very powerful performance as Ester Cox and she's totally captivating on stage. Plenty of clever special effects, good use of the space, and some very interesting and informative history revealed in the text add to the enjoyment of the play. Walter Hubbell, the narrator/actor played by Paul Van Dyke, gets in some quick and clever repartee adding just the right measure of sarcastic wit to balance out the dark suspenseful drama in the story. The live music is very enjoyable and adds even more color to this dark priece. Like with much of Van Dyke's work, this play is born from research, the germinal idea "...to write a play based on different cultural interpretations of the afterlife." He then happened upon 'The Great Amherst Mystery' "... It is my hope that I have created a different version of the apparently true story of what happened to Esther Cox in 1879 Amherst N.S.".

Written & directed by Paul Van Dyke. An all-star cast and crew bring the bizarre tale to life, including: Catherine Bérubé, Alexandria Haber, Carlo Mestroni, Eric Davis, Kyle Gatehouse, and Paul Van Dyck.Crew includes: Jeremy Eliosoff FX computer generated graphics; Jody Burkholder lighting; Helen Rainbird costumes; Jesse Ash sound; Daniel Giverin music consultant, and playing violin; Trevor Smith on cello. Photo credit, Jeremy Bobrow.

BOO! GO C IT!
St. James United Church, 463 Ste-Catherine West; Entrance: 1440, St-Alexandre.
Runs October 21 - 31. Tickets $20. Box office: (514) 303 – 7646

Inherit The Wind at Segal Center to November 8.

Segal Center for the performing arts presents the Pulitzer Prize-nominated play...

Inherit The Wind

Play by Jerome Lawrence & Robert E. Lee. Directed by Greg Kramer.

A thrilling courtroom drama inspired by the famous ‘Scopes Monkey Trial’ of 1925 in Dayton, Tennessee where schoolteacher John Scopes was accused of violating a state law against teaching the theory of human evolution. Lawrence and Lee wrote Inherit the Wind during the 1950s when Senator McCarthy was on the rampage in the United States. The play is a metaphor for the importance of intellectual freedom and the dangers of restricting free speech. "A fight for the right to be wrong." The artistic director promises the production to leave a lasting impression on theatergoers, the actors having added a unique dimension and depth to the play, and that Elli Bunton’s imaginative set will strive to bring the audience into the action.

The production is well paced, and the play a perfect length to hold the interest of most (I found myself counting the empty seats in the audience '35' during act one), and it has an equally well placed intermission. As promised the cast do leave us with a lasting impression in that there are so many of them on stage coming and going from every direction, worst choice being when they are persistently sent up through the audience, it is distracting forcing the audience to play 'where's Waldo' to locate exactly where is the focus of the scene. It's narrowed down to the the performance of Sean McCann as the defense lawyer Henry Drummond who steals the show. Despite a few scattered dropped lines in act two, he definitely holds the interest of the audience in an otherwise very 'busy' staging of an extra large ensemble, he rallies the support of the crowd with his larger than life stage presence giving us a truly memorable performance. And in the supporting cast Tamara Brown as Rachel Brown, the colleague and love interest of Karl Graboshas's character Bertram Cathes, she delivers a strong performance and lights up the stage when she in on it. Which brings me to the question of why are there so few black actors cast in this production set in the heart of the deep south. And why is the obvious 'elephant in the room' question, the issue of an 'interracial relationship', never properly addressed in the play? Huh?!

There are a few questionable staging choices throughout the production for example like when Karl confronts Tamara in Act one, he looks out away from her and moves towards the audience. Also when the prosecutor questions her on the stand in act two. I would have gone with a more intimate moment of tension between the two characters in their confrontation in act one, and I would have preferred it if the prosecutor had delivered his questions from her right side, facing the jury members and not hiding her from their gaze. Again most distracting was the forced staging sending the characters across the stage on the audience first row floor or up into the audience to exit and enter. Sending the prosecutor up the long flight of stairs through the audience at the end was the least logical. The set is at first glance is very impressive, but then it becomes somewhat less relevant and even somewhat confusing at times making it difficult to define the space of the scene of where the actors are in the play, this is more evident in act one. Act two everything becomes much more clear and is more focused and easier to follow. The pacing on the epilogue is a bit stretched out and long winded and could have done with a bit of editing. The lighting, like the set design, although very 'pretty' in looks through most of the play, doesn't always do all it could to help to define space, and there were a few moments where the faces were not as lit as well as they should be. The music is a nice selection and an appreciated addition to the overall production.

Costume concept by Susana Vera and lighting by Robert Thomson. John Gilbert is the musical director. The play stars Sean McCann (as defense lawyer Henry Drummond) and David Francis (as prosecutor Matthew Harrison Brady). Also features a huge cast of 26 including: Tamara Brown (Rachel Brown, Bill Corday (Elijah), Bill Croft (Judge), Graham Cuthbertson (Tom Davenport), Holly Gauthier Frankel (Mrs. Blair), Karl Graboshas (Bertram Cathes), Marcel Jeannin (E.K. Hornbeck), Elan Kunin (Jesse Dunlop), Daniel Lillford (Mr. Meeker), Sean McCann (Henry Drummond), Leni Parker (Mrs. Brady), Glenn Roy (Storekeeper/Sillers).
Photo: Andrée Lanthier.

Overall the play remains very entertaining, humourous, intelligent, and thought provoking even today. GO C IT! October 18 to November 8, 2009.

Segal Centre for Performing Arts
5170 Côte Ste. Catherine Rd.
www.segalcenter.org

Theatre Panache presents...
Till We Meet Again

By David Langlois

Directed by Heather Markgraf Lowe...
“The play provides an important message of hope and understanding at a time when despair is again on the rise.”

Musical Direction by Marian Siminski

A wartime broadcast. Till We Meet Again revisits the days of WWII by recreating radio newscasts with song and dance numbers.

It is purely and simply delightful; A thoroughly enjoyable experience. A musical review worthy of your attention and support. A great way to escape and enjoy these timeless memorable classic songs. Even the most steadfast curmudgeon “I hate musical theatre!” advocate will enjoy this one. Before you can say ‘…and a one, and a two, and a three’ you’ll be humming and singing along with the charming cast who are persistently egging you on to join in. You’ll be surprised, as I was, at how many of the songs are familiar to the ear. Although the audience was filled with folks from the generation that originally heard these war time hits, and many baby boomers too, even a few of the ‘thirty-something’ audience knew some of them, probably having heard them played or sung by their parents and or grandparents or featured in films paying homage to this era in our history.

With 'Till We Meet Again' you will have the previlage of participating directly in what was the pre-television era of entertainment. A time when the audience were safe in the homes huddled around the radio after supper and actually listened in. The play is carefully mindful of the history of the period it covers (1939-1944) and is respectful to the memory of those who died and to those who survived, gently reminding us of the contribution that they made. You'll leave the theatre uplifted and in joyful good spirits, but you'll also leave the theatre reflecting on the sacrifice made by those who fought for our privileged freedoms that we still enjoy to this day.

October 16, 17, 18; & November 21, 22, 2009, 8pm.
www.tillwemeetagain.ca

Oscar Peterson Concert Hall
Concordia University's Loyola Campus
7141 Rue Sherbrooke Ouest

I saw even more theatre in 2009...some thoughts on other productions that I enjoyed this year.

There are a few productions that didn't make it onto my blog for pre or review, that I felt I should mention here and now before the year ends. I attended performances of these productions but didn't write about them earlier for a variety of reasons that don't matter now. Posthumously I felt that they still deserved mentioning. For the record...

Suddenly, Last Summer Play by Tennessee Williams, presented by Village Scene Productions at Players Theatre September 22nd to October 4th, directed and adapted by Davyn Ryall. Of course I won't be reviewing the production here, only to say thank you to all those who came out to see the production, your support is noted and appreciated. And of course a huge thank you to the loyal cast and devoted crew of designers who helped make it all happen.

Speak Truth To Power Voices From Beyond the Dark. Play by Ariel Dorfman was presented by Scotch and Cookies Theatre, at St-Georges Church at the end of August. The play deals with highly relevant human rights subject matters in today's current context. It is based on Kerry Kennedy's 2000 book of the same name. Director Bruce Lambie also directed this play at Bishop's University in 2006. In this production an ensemble of 9 local actors present the monologues, that intertwine the stories of 50 human rights activists from around the world, in an elaborate stage reading formate, with the added effect of some visual projection. Not my usual 'cup of tea' entertainment wise, but then theatre can also be used to effect change on society. Well presented and produced for the requirements of the play.

Souvenir by Stephen Temperley was presented in August as part of the 3rd edition of Next Wave Festival of New Musicals at the McCord Museum, 690 Sherbrooke W. According to Stephen Pietrantoni the artistic director the choice is clear: Canadians must support local musical theatre or face the monotonous cycle of Disney-produced Broadway. I tend to agree with him. This is more of a play than a musical, fortunately as the story focuses on the relationship between performer Florence Foster Jenkins (1868-1944) and her accompanist, Cosme McMoon. Jenkins, a philanthropist, pursued a singing career despite the fact she couldn't sing a note. Featured: Nadia Verrucci and Chris Barillaro (This boy can act too.) I was completely enthralled with the production from start to finish. I left wondering why do all English productions get such short runs in Montreal? Especially such great ones like this which should be running for weeks if not months at some local cabaret styled room in a major DT hotel.

Bunbury: The Importance of Being Earnest/L'importance d'être Constant. Play by Oscar Wild. Presented by Village Scene Productions at TSC during the Pride week celebrations in August. Directed and adapted by Davyn Ryall. Presented in French and English by a bilingual cast of nine local brilliant performers. This adaptation, set in 1929 Montreal and North HATley, featured some eclectic music, movement and dance. I had enjoyed it so much when I saw it at McGill last season that I new I had to do it again, my way. I was even lucky enough to be able to cast Jessica Hill as Gwendolyn (she had played the part at McGill) which proved to be a brilliant addition to the ensemble. Thanks to all of them and to the production crew for standing by this project and making it happen.

I AM I, presented by Dancing Monkey Theatre at Players Theatre, McGill University. Play by Mike Czuba, directed by Larry Lamont. A staged conversation between an ordinary guy, his horny alter ego and a young woman who's not into either of them, says a lot about the 21st century scene. Featured the talents of: Patricia McKenzie, Tristan D. Lalla, and George Bekiaris. I particularly loved the musical compliment to the piece, original sound by the very talented Ti Timbers. (I was so impressed that I recruited him for our own production of Suddenly, Last Summer, presented in the same space in September.) The biggest flaw with this piece is it starts off great, with some great subtle humor, but then it drops off the edge and flops at the end. Also the time of year for presenting this piece was very questionable, July, for a play that is really directed to a 20'-30's audience, they missed the mark by producing it on campus when schools out.

My Pregnant Brother by Johanna Nutter, played during the Fringe at Geordie Space. It won this year's Centaur Theatre award for best English Language Production, -so it will be back, at the Wildside Festival in January of 2010. A piece of chalk is used to outline a stage design defining the areas that the story is located at. A few props are used sparingly to assist in the story telling. The story is told from the perspective of an older sister who is presumably the most the stable member of her family. It's about a women who grew up on the Plateau, in and around 'The Main', with a loose free spirited mom, and a rebellious sexually confused sister. The story gravitates to be about how her brother, formerly her sister, who gets pregnant (He, the brother, never had 'the operation' and remained fertile as well as confused about his / her sexual identity and preferences.) and then the resulting burdens that this creates for the older sister? I expected to love, and wanted to like, this production. I didn't, -not at all, for more reasons than I have time or space to list here. Some folks agree with my assessment, others disagree; 2 cents. -Hey, it's art, and everyone has an opinion. Mine is don't bother seeing 'Pregnant Brother', abort the mission! Or to see it, -you decide for yourself; I hope that it will have been greatly improved by then.

Perverts at the Fringe played at Theatre La Chapelle. A very riské piece of movement that pushes all the right bottons. One got more than an eye full of nudity and sexuality of all sorts leaving one to beg ging the question, 'Who were the real perverts?' Is it those who are portrayed debauched on the stage, or those of us that were in the audience enjoying the spectacle of eye candy frolicking and cavorting in the nude on stage? 4 cents.

HAIR, the musical, at Moise Hall, McGill University. Presented in Jan 29-31 and Feb 5-7. Hair was the 3rd annual AUTS, Arts Undergraduate Theatre Society production. It was an amazing experience; seated in our little private booth section, accompanied by my hubby and friends. It was absolutely delightful to return to this musical that once 'shocked' Broadway off its feet. Composed by Montrealer Galt MacDermot, who also worked on the music for McGill’s My Fur Lady in 1955, Hair burst onto Broadway in 1968, defining the rock musical genre and becoming a groovy, far-out, worldwide phenomenon. It is a little known fact that it actually got its start right here in Montreal in the late 60's. Even 'sans nu' the piece is joyful and still all too relevant with the good old USA still at war in far off foreign lands. Attending a musical when you know all the lyrics to all of the songs is always fun too 'À la Mama Mia'.

IN PIAZZA SAN DOMENICO - WORLD PREMIERE

October 6 - November 1, 2009, extended to 15th. Centaur Theatre Company presents:
The world premier of "IN PIAZZA SAN DOMENICO"
By STEVE GALLUCCIO Directed by ROY SURETTE

Finally got to see this on Friday the 13th, 'lucky me', closing weekend. I had heard very mixed reviews so -mostly that it has a great set design with some good performances, and that what it lacked in plot it was made up for in funny one liners. Well this is all true and then some.

"From the author of Mambo Italiano comes a light-hearted and thoroughly entertaining comedy about love, lust and misunderstandings, inspired by Feydeau, Goldini and Sophia Loren. It’s a burning hot August in Naples, 1952 – “earthquake weather” and the citizens of Piazza San Domenico are all stirred up when Carmelina Benevento suddenly faints upon hearing some bad news about her fiancé, Guido. A series of conspicuous sightings between people provoke gossip. Misinterpretations ensue as the players contrive their own schemes and desperately try to keep face. But love and earth tremors have a way of setting things straight."

The set design of John C. Dinning is fabulous, as is the lighting of Luc Prairie, and the costumes designed by James Lavoie, although somewhat elaborate for the characters in this era and this location, are very nice too. And this is where the compliments end. As for the play itself, there is absolutely no sustaintable plot to speak of, and even less character development. Due to an questionable amount of miss casting and an obvious lack of direction most of the few one liners are dropped, literally on the stage floor, and much of the meager text is lost in 'translation'. The vocal accents selected to be played by the whole cast doesn't help to deliver the much need punch to the little camp humor that there is in the text. The performances seemed very forced overall as there is so little here for the cast to work from, making what could have been good camp into very bad burlesque. The performances of Jocelyne Zucco (Marisa) and that of Carl Alacchi (Severino) contribute the most to the play and they have taken the over the top approach to their comedic delivery and it works for them most of the play, but there i just isn't enough for even them to save this one. A piece more justifiable on a community festival out door summer theatre stage, but not worthy of Centaur.

With: Carl Alacchi, Christina Broccolini, Guido Cocomello, Ellen David, Mara Lalli, Michel Perron, Vittorio Rossi, Jocelyne Zucco.

Set Design by John C. Dinning; Costume Design by James Lavoie; Lighting Design by Luc Prairie; Stage Manager: Luciana Burcheri; Assistant Stage Manager: Sarah-Marie Langlois; Assistant Director: Adam Blanshay.
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Rock, Paper, Jackknife...

Centaur Theatre Company - Brave New Works presents Talisman Theatre (Down Dangerous Passes Road) play by Marilyn Perreault: "Rock, Paper, Jackknife" Translation by Nadine Desrochers. Opening October 6, 2009.

As indicated in the program notes, the play is about alienation, isolation, and despair. For all those who know me and my taste, let me preface that this is a play that is without question, 'not me cup of tea', to say the least. Not that this should take anything away from the quality production that has been staged. It is all relative to taste. This just isn't mine. That clarified...

If you like your English text full of diction, and pronunciation with great projection; then this won't be to your taste either. However, if you're into 'post-Appopolistic speak' à la Mad Max then run on down to Centaur and you'll get your fill of Neo-modernist phrasing. But sit close to the stage (general seating), as you may miss some of the text which is at times inaudible and all a little hard to catch from some of the cast.

The set design is well thought out and constructed and functional, and so is the lighting. Maybe it is all a tad over board, for my taste, again, given the space, and the play, but still very well done, and I'm sure will be appreciated. It is also very well directed by Emma Tibaldo and she definitely achieves the goals of getting on stage the harsh messages of the play.

The performance of Stefanie Buxton, Ali, is exceptional and definitely stands out amongst the rest of the performers as flawless. She holds our attention and is captivating every moment she is on stage. Lucinda Davis (Doubt) is unrecognizable as Sola, and delivers a very strong performance also.

Plays to October 18th.