A stairway to heavenly theatre is on the Main, two flights up, @ Freestanding Space.

Girl Got Lost Productions presents Amiel Gladstone's Hippies & Bolsheviks. Directed by Chelsea McIsaac. With: Miranda Handford (Star), Thomas Preece (Jeff), and Brent Skagford (Allan). Original music performed live by Melissa Trottier. Photographer - Terry Hughes.

Hippies & Bolsheviks, set in 1972 Vancouver, is a dramatic comedy about wining and losing, loving and leaving and making plans. "Do you know how to make God laugh? ... Make a plan." Through the haze of joints, one night stands, and 70's rock-n-roll gods the play examines how to get along in a world at war, with a lifetime supply of plastic and broken ideals. "How do you hold fast to your ideals and dreams when faced with the challenges of the 'real' world?"

Why has 1st time director, aka established casting agent, Chelsea McIsaac switched from handling a roster of actors to producing and directing theatre, a vocation known for its lack of funding and small audiences? She quips: “I needed a creative outlet. ... I figured if I was directing it, being known more as an agent than as a director, who would produce me, so I took on that role as well."

The casting of the ensemble is perfect, naturally, with a stand out pitch perfect comedic performance delivered by new comer and Concordia graduate Thomas Preece. Set design by Holly Simpson is ideally created for the intimate space. The sound design by Tom Mulins is also well conceived adding multiple layers to each scene. The live musical performance of Melisa Trottier and the song selections are well inserted throughout creating a very timely and romantic ambiance. Act one is marvelously well paced, insightful, and entertaining. Act two drags in spots, and is somewhat less interesting, falling prey to being a bit too preachy and predictable. The play runs approximately two hours with a 15 minute intermission. Refreshments are available on site. GO C IT!

Encore performances: December 9, 10, 11 @8pm. Freestanding Space, (two flights of stairs) 4324, boul. St-Laurent; Limited seating, RESERVE @ Box Office (514) 279 - 5219.

Getting a real 'education' in great theatre at Segal? Priceless!

Educating Rita The hilarious and clever comedy by award-winning playwright Willy Russell ('Shirley Valentine'). Directed by Marcia Kash. With: Carley Street and *Ric Reid. Costume and set design by John C. Dinning. Light design by Spike Lyne. Photo credit: Randy Cole. This play is truly an education for all as we are witnessing a virtually flawless and throughly entertaining and totally enjoyable production. *Ric Reid is away due to a health matter so Ian Deakin is currently replacing him.

Bryna Wasserman, Artistic and Executive Director of the Segal Centre promises: “The special chemistry and briskly-paced comedic repartee between these two extraordinary actors will have you smiling all through the play.” She isn't talking out of her hat here either...not sure she wears actually hats; Though I'm sure that she wears many in order to maintain the high levels of theatre productions promised to the loyal Segal audiences who have become accustomed to 'first class' theatre.

The play is about Frank Bryant, a failed writer (poet) and disillusioned literature professor who views his students as appallingly, boring, and lacking in originality. The cynical middle-age curmudgeon academic would rather spend time drinking scotch than teaching. And it is about Rita, who is a brash, twenty-six year old hairdresser from Liverpool who is determined to get an education and shed her working-class image. Her real name is Susan, but wanting to appear more sophisticated she refers to herself as Rita after feminist writer Rita Mae Brown. Rita thinks Brown is a brilliant writer but Frank has never heard of her. Frank grudgingly accepts to tutor this uneducated and feisty Liverpudlian, but in time her passion for learning intrigues and enchants him.

The performances of both Carley Street (Rita/Susan) and Ric Reid (Frank Bryant) are impeccable. Their chemistry on stage is vibrant and very much alive and completely entertaining. Rita's journey is delivered with pristine clarity bringing the audience along to each of her tutorials. Frank's frustration with life and eventual cathartic experience is pure and heart felt. The set and costume design by thirty year veteran John C. Dinning is amazing, it is so detailed and well conceived to suit every nuance of the play. Lighting by Spike Lyne is equally well designed to suit the mood and set.

The classic Pygmalion story is as winsome and fresh as it ever was in this new slightly updated revised version of this 80's modern classic. Director Marcia Kash is in very familiar territory with the character Rita. In a veritable 'circle of life' scenario, She was the first actress to play the role in Canada and subsequently reprised it four times. "Rita's a women with 'guts' with determination and with an innate curiosity about the world...she wants more out of life and she's willing to risk everything to get it." Rita maintains though her journey in the play that all she really wants is to have a choice. Under Kash's direction the production is like seeing the play again the first time. The play is still very relevant today, and this production is very fresh, creative, with energy anew.

The play is partially autobiographical; British playwright actually Willy Russell grew up in a working class family in Liverpool and became a hairdresser. Eventually he returned to college and started writing drama, which opened up a world of new possibilities and brought him international success. He connects easily with his female characters offering them some very insightful dialogue that isn't condescending always remaining believable and retaining the truthfulness in their lives.

One note that I'd be remiss for not mentioning however; When selecting your seats, choose center or audience stage right sections for a more enjoyable and a better sight line of the stage and of the performances. Seated to far to the left of the stage, I felt at times somewhat disconnected to Rita, missing out on some of her vibrant expressions and delivery. This is mostly due to staging, blocking her too far downstage and or facing all too often up stage and to stage left leaving only her back and rear angled profile.

Playing at Segal Center for the Arts daily except Fridays now until December 13th. GO C IT.

Marie Brassard is BRILLIANT in 'Jimmy' @ Centaur.

An AMAZING, INNOVATIVE, ORIGINAL, CREATION. Infrarouge presents "Jimmy" Marie Brassard's most masterful creation in English, the evocative solo-show about dreams and desire, Jimmy. She is engaging from the moment we enter the space. Her portrayal of the central character is stunning believable so we immediately empathize with his dilemma and sorrowful plight. She delivers a memorable performance worthy of the three curtain call standing ovation she received on opening night. Performed around the world since its creation in 2001, Jimmy is a beautifully haunting tour-de-force. In it Brassard plays a homosexual hairdresser Jimmy, who came to life in the dream of a homophobic American general in the 1950’s. It is in his salon that Jimmy meets Mitchell, a soldier that he falls deeply in love with. At the exact moment Jimmy is about to kiss the soldier he loves for the first time, the general's heart stops beating and Jimmy remains suspended, frozen in time in that precise moment, filled with an exquisite sensation of pure pleasure.

Fifty years later, time starts ticking again and Jimmy comes back to life, this time, to his despair, imprisoned in the dreams of a Montreal actress who falls in love with him. In the actress's wild, erotic and absurd dreams, his face and body are transformed, metamorphosing him into a strange creature of uncertain gender. His most ardent desire is to escape the logic of the dreams that imprison him so he can finally find his way back to his lost love.

For several years, Marie Brassard’s career was linked with that of the director Robert Lepage. With him she elaborated concepts, wrote and performed in films and stage plays. Initiating her exploration of the use of sound, she created her first solo play Jimmy, créature de Rêve, 2001. With her more recent work: The Darkness (2003), Peepshow (2005) and The Invisible (2008) she continued her technological investigation, interweaving voices and soundtracks, shifting between levels of reality, bringing us face to face with a world where the boundaries between public and private are increasingly fluid and the relationship between individuals and technology is increasingly intimate. Establishing herself as a unique voice in contemporary theatre, her work, has been presented in English and French in several cities all over Americas, Europe and Australia.

My production picky pen notes: I recommend sitting at least in row five or higher from the stage. I would have preferred to see this production much more in an intimate performance space. The piece is so intimate that the staging here only distances the audience from connecting with the artist's performance and the character. I would have enjoyed some more creative lighting design, it was rather simplistic and could have been much more. There should also have been some post-show exit music for the audience. From a production-marketing perspective: Just a one week runs for such a piece doesn't allow for building the audience through reviews and word of mouth. Since it runs only '70 minutes' possibly two productions could have been scheduled to be performed the same evenings, like 7pm and 9pm. Finally, for English theatre goers they may find the ticket price to be a bit too steep $37-$27. for most of the potential audience members during this heavy loaded theatre calendar period; Also when considering it is a one person solo art piece performance of under 75 minutes.

'Jimmy' Written, directed and performed by Marie Brassard @ Centaur, to November 28 8:30pm. GO C IT!

It is too bad that the production wasn't scheduled to be performed alternately with 'The Glass Eye" the 2nd production, that was to be presented next week by the same company and has now been postpone indefinitely.

Death and the Maiden is vibrantly full of life...

Death and the Maiden by Ariel Dorfman is presented at Centaur's smaller space until Dec. 6th. directed by former AD Gorden McCall with: Neil Napier* (Gerardo Escobar), Tania Kontoyanni* (Pauline Salas), and Wayne Burnett (Roberto Miranda). * In photo; Credit Yanick Macdonald.

Originally written to draw attention to the atrocities that occurred during Chile's Pinochet regime, it is still all too relevant today as we watch CNN and our local news programs learning about the despicable acts of torture and violence and oppression practiced on every day citizens on every continent of our globe. It is a contemporary play that resonates all to well even today.

An amazing set design making the space almost unrecognizable is designed by Russell Jones; It is both impressive and highly functional adding a lot of quality to the production. The lighting, when lit, is equally functional with the set and stunning as well. However, not sure who to blame here, director or designer Spike Lyne, there are too many and too lengthy black outs. Spoiler alert: The scene with Pauline capturing Roberto is way too long and too dark, audience members seated half way and up in the space or seated far to the right miss some important detailed moments, and anyone getting a little dozzy will definately nod off here, as some near me did, the scene is too drawn out, especially when considering the dim lighting. ... The performances by all three actors, who are all very well cast in their respective roles, were also very well performed with particular mention going to Tania Kontayanni who is captivating, commanding the stage throughout the play either on or off the focus.

Many may have read this one before, or seen another production, or at least be familiar with the film; This production is well worth a revisit to the play or for the first time. GO C IT!

TSC's Speed-The-Plow by David Mamet to Nov. 22nd.

The Parkdale Players present David Mamet's Speed-The-Plow at the New Theatre Ste-Catherine, November 18 to 22. Directed by Conall Pendergast, with: Luis Fernandes (Bobby Gould), Jesse Ryder Huges (Charlie Fox), and Jenny Westoby (Karen).

Pulitzer Prize winner (Glengarry Glenn Ross) and two-time Oscar nominee David Mamet pulls no punches in this vicious ride through the highs and lows of the American film industry. Hollywood power brokers Bobby Gould and Charlie Fox are hungry to impress the Studio Head with their potential next big blockbuster. High on their expectations of success, Bobby bets 500$ that he can seduce Karen, his temp secretary. Bobby gets more than he bargained for as Karen has a few plans of her own that might change Bobby’s life forever. It’s the story of a man ambushed by the warring forces of sex, friendship, and love all under a perpetual greed for money.

The title means 'work...to plow under and start anew'... 'Good luck and swift and profitable ploughing.' The original premiered on Broadway in 1988 with Madonna, Joe Mortagnia, and Jon Silver who took home a Tony for his portrayal of Charlie Fox. A 2008 revival at the Old Vic starred AD Kevin Spacey; The Broadway revival in 2008-2009 featured Jeremy Piven in the role of Bobby; territory no doubt very familiar to the actor as he plays the Hollywood agent Arie on TVs Entourage. He was replaced by William H. Macey half way through the limited run.

Bobby and Charlie have a verbal boxing match of the eternal debate of art versus money. The office temp Karen is the catalyst of the debate, and Bobby finds himself on both sides of the dilemma. Like many of Mamet's plays this one highlights the men and their complicated relationships. The women are over-simple objectified characters, like that of Karen. The two main actors deliver rapid-fire dialogue throughout their performance, almost completing each others sentences. Although in general I enjoyed all of the performances, something was missing in their projection; -it was as if the audience deliberately wasn't being included in the conversation. Even seated mid-row in the space we found ourselves stretching our ears to hear the actors clever reparté. The stage-set design and the lighting and sound also worked well. If you are fans of Entourage and Mad Men you will enjoy this too. GO C IT!

In Extremis: The Storey of Abelard and Heloise

By Howard Brenton. Directed by Sean Carney. Presented at Moyse Hall - McGill. With a cast of sixteen current and former McGill students including: Bryn Dewar (Abelard), Bea Hutcheson (Heloise), Chirag Nalk (Chamberlain), and Michael Ruderman (Bernard).

Howard Brenton is a secular playwright born in England 1942. He is fascinated by the power of faith and belief, and he has observed that we live in an age without ideals. Using comedy, romance, drama, and tragedy, he tells a sweeping tale about human beings for whom belief and ideals were not a matter of choice, but of necessity. This is a true story, a real life version of the classic tale of Romeo and Juliet, or Tristan and Iseult. The tragic tale of their passion and romance reminds us what is still sacred in this world.

An impressive stage set design by Danny Haeberlin and equally impressive costume design by Catherine Bradley. Questionable music selection however not noting any particular link between the mood of the production and the songs playing. There is an annoying amount of black outs and lengthy transitions that are not really necessary given the end result to the changes made on stage. These could easily have been cut out and or shortened. The play runs long and this is mostly due to some labored staging (forced blocking) like frequent entrances through the audience, and actors finding their positions on the vastly spread out stage. Most notable performances are those of Chirag Nalk as the tenacious Chamberlain, and the strongest and most consistent is the performance delivered by Michael Ruderman as Bernard. There are a few sporadic moments of good acting by some of the rest of the cast but unfortunately not enough to recommend seeing it.

Nov. 18-21, 25-28; 7:30pm.
Tickets: 5$-10$. www.mcgill.ca/english/moyse/

Photo: Bea Hutcheson (Heloise), Bryn Dewar (Abelard), Lee Marshall (Denise). Photo credit: Owen Egan

TRANSPOTTING : Just say 'NO' to drugs, 'NOT' to theatre.

Trainspotting is based on the book of the same title by Irvine Welsh, the play is by Harry Gibson, the production is directed by Joel Burford and it is presented at Players Theatre 8pm November 18-21, and 25-28. With: Grace Glowicki, Martin Law, David Moote, and Daniel Sorger. Tickets are just 8$-$6. www.ssmu.mcgill.ca/players 514 398-6813.

This play is a perfect selection for the Players' season and the students should show up and support it. It isn't a 'feel good' play by any stretch as it deals with the dark world of drugs in the recesses of Edinburgh's low-life society. For those that have seen and are fans of the Danny Boyle (1996) film will not be disappointed with the play. It is gritty, foul, and obscene. It is not only about addiction but also about the struggle of friendship, and the choices between life and complete self-destruction. "I choose not to choose life: I choose something else." ... "We live waiting for death knowing that we will never get the answers to the really big questions."

The biggest danger with holding a media presentation days before a production is about to open is that more often than not the production just isn't ready. Such is the case with this production of Trainspotting, but with some hard work and last minute adjustments there is hope that this play will attain it's desired level of production quality.

The lighting is the biggest issue, with some levels too dark to see the actors, or with missed queues, lighting the wrong areas of the stage and not lighting the right ones. No preset as the audience enters into the space which is a missed opportunity to create a mood and is just plain too dangerous when the audience enters in the dark. But this can be easily, and hopefully will be, adjusted by showtime.

The set is okay, a bit over kill on some of the debris, we get it without so much distracting clutter, sometimes less is more. It is obvious that more stage hands will be needed to properly 'carry off and on' copious set items; -depending on the cast to do this only works if it is part of the action of the scene, otherwise it delays the pacing and becomes very distracting to the audience. Again, hopefully by showtime, this can and will be corrected with more back stage volunteers.

The sound track and effects were well done, and they add to the mood and the tension of the play. Costumes were also well selected. Makeup design could be used more to advantage the actors, it would help in 'making' them appear more like the 'users' that they are portraying. The special effects are essential to the story telling of this play and they are expected to be delivered, and they are in abunence. This is one area where those who are familiar with the film version will not be disappointed. It is not easy to produce special effects on stage, especially when working with small budgets and limited resources. We get a 'mouth full' and and 'eye full' in this production. There is always room for more elaborate effects but the basic minimum are delivered here. Warning: If you eat before, do so at least two hours prior to seeing the play.

And on that note, it is a long play, running time of approximate two and half hours including intermission. At least 20 minutes could easily be cut back here. This is where the biggest flaw is in the production and is in dire need of immediate improvement before opening night. The pacing is way too slow, the transitions are far too many, and they need to be cut back. Those that are absolutely necessary have to have shorter delays between scenes. Some scenes, particularly the 'drug administering' ones, have to be condensed, we get it after the first round, we don't need to have this action stretched out each and every time it is blocked into a scene.

The choice to stick with Sean Connery's difficult Scottish brogue was well conceived. It is one of the most difficult accents in English to the ear to capture the text but the cast are more often than not very consistent with their vocal prowess. This choice however also slows down the delivery and therefore makes it all the more important to pick up the pacing where and when ever possible.

The casting of the ensemble of four in the production is excellent for the better part. I have to single out Grace Glowicki (Alyson) who delivers a very convincing performance, and David Moote (Franco) who has an innate natural talent giving a performance that is comparable to the talent of that of the one of film's stars, Robert Carlyle. Martin Law (Mark) has very big shoes to fill and a lot of demanding text to deliver, and hopefully he will fill the bill once he has an audience to react to his work and a few performances under his belt. GO C IT!

Suburban Motel a series of 6 short plays presented by Table d'hôte.

TABLEAU D’HÔTE THEATRE, presents all 6 one-act plays of the George F. Walker suite, Suburban Motel, over 3-weeks Nov. 10 – 29. With two plays per week opening every Tuesday, at 7pm and 9pm Tuesdays through Sundays. 5 different directors, 6 designers, 5 stage managers, and 19 actors participate in this production. “We wanted to do something really special to mark our 5th anniversary, something edgy, something untried, with a definite Canadian flavor.”

For those who missed some of Tableau D'Hôte Theatre's 6-play series Suburban Motel, there will be an encore presentation of each episode: Tue. Dec. 1, Problem Child 7pm; Adult Entertainment 9pm. Wed. Dec. 2, Featuring Loretta 7pm; The End of Civilization 9pm. Thr. Dec. 3, Criminal Genius 7pm, Risk Everything 9pm. Then the 'Motel' permanently closes for business!

Though violence is a constant presence and an aura of hopelessness permeates each play in the suite, there promises to have deeply poignant moments that both surprise the viewer and soften the madness and brutality. The set is adequate and utilized well in both productions. The lighting was less than helpful, while at times ranging from a bit to dull to see the actors well, to a bit too bright to build an contribute to the mood. The second week, not sure if they read my note, but the lighting had improved considerably; no problem seeing any of the action and recaction.

PROBLEM CHILD – Nov. 10 – 15 7pm; Nov. 14 & 15 2pm. Directed by Liz Valdez. With: Joanne Sarazen, Mike Hughes, Catherine Lemieux and George Bekiaris. An ex-prostitute, drug-addict and her significant other, a reality TV-addicted ex-con, try to deal with a by-the-book social worker in order to get back their child from the system. The play's very funny inspite of itself given its' heavy subject matter. The well paced direction captivates our interest throughout; we become more invested in each of the characters as they become more interconnected to each others' plight. The well cast ensemble delivers consistent strong performances under the seamless direction of Valdez. The strong chemistry between Mike Hughes (R.J.) and Joanne Sarazen (Denise) "He is one of us, the scum of the earth, it is so easy to screw us." is palpable and they're both very powerful in their roles. George Bekiaris (Phillie) and Catherine Lemieux (Helen) have a tragic tale yet both have very good comedic timing making their characters both endearing and entertaining. GO C IT!

ADULT ENTERTAINMENT – Nov.10 – 15 9pm; Nov. 14 & 15 4pm. Directed by Rebecca Harper. With: Eric Davis, Liz Valdez, Patrick Charron and Annie Lalonde. A married policeman is making a business deal with a female lawyer using sex as the language of choice. His drunk partner is waiting in the motel's parking lot. The two cops have a somewhat dangerous relationship and it seems unlikely that either will escape without a bloody encounter. A repeating theme from the previous play, of dealing with the 'scum of the earth', is further developed here in the connections between people and their individual sets of circumstances and what motivates them. Written in a dark style reminiscent of Sam Sheppard with the added quick wit and gore of Quentin Tarantino. Liz Valdez (Jayne) does double duty here, returning this time on the stage, showing off her acting chops and giving a captivating command performance. Also notable is the humorous yet subtle take of the performance delivered by Patrick Charron (Donny). However, one downfall is there is smoking in this piece that, as I always state, could do without. Warning: it is hard to avoid at this venue but try by sitting near the entrance upper level if you are sensitive to this. GO C IT!

FEATURING LORETTA – Nov. 17 - 22 7pm; Nov. 21 & 22. Directed by Mathieu Perron. With: Warona Setshwaelo (Loretta), Liz Burns, Joel Fishbane and Tommy Furino. A pregnant waitress is caught between two men, one in love with her and a pornographer who wants to exploit her. However she’s striking up a peculiar friendship with the maid who is not only a physics student but also the daughter of a KGB kingpin. This segment of the series is absolutely hysterically funny! The comedic timing and the quick banter between the characters is fresh and a lot of fun. The casting is spot on, even casting against type works well here, and all the performances are well played out by the ensemble, -completely enjoyable. I have to highlight the performances of both Liz Burns (Sophie) and Joel Fishbane (Michael). Their portrayal of their respective roles is pitch perfect; Liz is an absolute delight with the added plus of a well crafted accent as the Russian maid. Joel Fishbane never misses a beat as the totally charming yet smarmy self-serving pimp. With a distasteful manner he is still convincingly 'sensible' as he ingratiates himself into the life of Loretta. This part of the six part series works well on it's own, independent of the previous two plays; If you are in need of and seeking out some comic relief then... GO C IT!

THE END OF CIVILIZATION – Nov. 17 - 22 9pm; Nov. 21 & 22 4pm. Directed by Olivier Perras. With Eric Hausknost, Denise DePass, Eric Davis, Patrick Charron and Caitie Parsons. This is the darkest of the series, about a man, his wife and a policeman who is investigating the husband for a particularly gruesome crime, a desperate response to unemployment and the financial stresses it puts on him. In complete contrast to the previous segment, this play is pure mind blowing drama and it takes the audience in reverse order (à la Momento) on a journey that hits more close to reality than one might want and or be able to admit. A very current subject matter in these rough economic times that many average folks are being faced with. A true test of values and what is really important to us when we are about to loose it all. This segment features the return of two characters from the 2nd play in the series, Patrick Charron as Donny and Eric Davis as Max. There is some action that has been carried forward from 'Adult Entertainment' and their characters are developed further here as we discover some dark truths that are uncovered about each one as well as in their relationship as partners. Eric Hausknost (Henry) is brilliant as the 'every man' who is at the end of his tightly wound rope and who questionably has nothing left to loose. As he strives to be recognized for what he once was he transmits his internalized pain in a subtle and earnest manner that is very natural and heart-wrenchingly all too real. GO C IT!

CRIMINAL GENIUS – Nov. 24 - 29 7pm; Nov. 28 & 29 2pm Directed by Mathieu Perron. With Dom Pompeo, Mike Payette, George Bekiaris, Tamara Brown and Shiong-En Chan

This tells the story of the strange relationship between a professional criminal father and his son. Both are non-violent yet involved in a complex crime, masterminded by women who have no fear of violence. Dom Pompeo (Rolly) delivers an amazing performance here as the father. He manages to sustain his manic state throughout the entire play never missing a beat and puses the rest of the cast to achieve an almost manic level of interpretation in all of their roles.
George Bekiaris returns as the motel manager Phillie where he achieves some masterful comedic moments, particularly in the finalé. The audience was roaring with laughter from start to finish and definitely were appreciative of the performances of the whole cast. This episode is reminiscent of a Woody Allan scheme gone amiss with a big dose of the wit and gore in the style of Quentin Tarantino. GO C IT!

RISK EVERYTHING - November 24 - 29 at 9pm; Nov. 28 & 29 4pm Directed by Eric Hausknost. With Johanna Nutter, Joanne Sarazen, Mike Hughes and Joel Fishbane.

This last play ties up the series by bringing back the parents of Problem Child as well as the pornographer from Featuring Loretta. In this scenario, the audience meets the young woman's mother, an Olympian drama queen Carol portrayed by Johanna Nutter, who’s been beaten because of gambling debts and who manipulates everyone around her, roping them into her chaotic world. Both Mike Hughes (R.J.) and Joanne Sarazen (Denise) have some great moments here where they both get to shine. Arguably the most 'dramatic' of the six in the series, it was for me the least interesting as well. -Maybe due to 'Sub Motel' overdose, given it is the 6th episode, or just me not being that into it, I had trouble connecting with and feeling any interest or compassion for the central character and her dilemma. Still worth it though for fans of the genre. GO C IT!

Mainline Theatre Box Office (514) 849 –3378 www.tableaudhotethetare.ca