The Mid-Life Crisis of Dionysus

An Epic Musical Tragedy of Olympian Proportions. Book and lyrics by Jeremy Hechtman & Patrick Goddard Directed by Jeremy Hechtman. Music by Nick Carpenter Choreography by Amy Elizabeth Blackmore

Starring (in alphabetic order): George Bekiaris, Nichole Carlone, Vance De Waele, Patrick Goddard, Jade Hassouné, Molly McGivern, Ulka Mohanty, Gabrielle Néron, Joanne Sarazen, Jake Smith, Paul Van Dyck, Eleanor Young, and a special guest star!

A cast of 14 Montreal actors sing, dance, act, and play in MainLine's first original musical since 2006's Johnny Canuck and the Last Burlesque. Hechtman, Goddard and Carpenter reunite for a smorgasborgiastic extraspectaculaganza the likes of which have not been seen in over two thousand years.

Set in the Grotto! In the theatre of Dionysus, every night is a feast of wine, women, and song. But tonight, Dionysus will discover that eternal life doesn't mean eternal youth... How will Dionysus react to his impending middle age? Will he choose to accept his fate with grace and dignity? Or will he decide it is better to burn out then to fade away?

Jeremy Hechtman has been thinking for a long time about creating a show that would star Dionysus, the god of Theatre. Hechtman has always lived the Dionysian lifestyle -but in recent years has taken on the responsibilities of marriage, mortgage, and children. As Hechtman approached age 40, the inspiration of Dionysus turned into introspection. The show must go on, -but how long can the showman?... The Mid-Life Crisis of Dionysus February 17 – March 6, 2010.

MainLine Theatre 3997 St-Laurent Blvd. Tickets: $20 or $15 w/ Four Play card. Reservations: 514.849.3378 www.mainlinetheatre.ca

Metamorphoses: New Standjofski plays draw inspiration from Kafka

Metamorphoses: Concordia’s University Department of Theatre proudly presents Metamorphoses, three plays written and directed by Harry Standjofski. Students have participated in the creation of the plays from first draft through to production. Metamorphoses, a suite of brand-new one-act plays, centers around the theme of transformation.

• Morph is a contemporary re-imagining of Kafka’s great “The Metamorphosis”: Greg’s sudden transformation equally transforms his family. Running time aprox 70 minutes. A humorous, edge of your seat, thought provoking experience.

• Love Is Like Water is a contemporary fable of love changing the lives of two unlikely lovers. Running time aprox 20 minutes. A romantic and moving two hander.

• Evelyn Lee is the remarkable voyage of Evelyn, from age 5 to 21, from private school in Vancouver to the set of Los Angeles gonzo porn and back. Running time aprox 90 minutes. A non-linear tale, very unexpected twist of a young girls journey.

Metamorphoses plays at the Cazalet Studio from February 11 to 14, and from February 17 to 20, 2010. Admission fees are $10 for adults, $5 for students and seniors. For box office information call 514-848-2424 ext. 4742. The Cazalet Studio is located at 7141 Sherbrooke Street West, under the Loyola Chapel. For information on the Concordia University Department of Theatre visit http://theatre.concordia.ca.

A jolly good time...with the pirate-packed production: Pirates of Penzance

"Pirates of Penzance" by Gilbert and Sullivan; Directed by Jonathan Patterson in his 6th season with Savoy; Musical director Michal Novotny.

Robin Alder founded the Savoy Society at McGill in 1963. Forty-six years later it is still strong as a new generation with sails at full mast are hitting the high C's on this new voyage. A bevy of pirates and damsels keep things a-float as they hit a high note with this production of Gilbert and Sullivan's popular classic, Pirates of Penzance .

Featuring a huge ensemble cast of 32 and and equally large orchestra of 32 instruments these talented actors/vocalists dance and sing their way onto the stage and into our hearts. They bringing joy and humor to the story and revive these familiar tunes to life. All are in very good voice, including great performances by both the engaging Michael Loewen as Frederick and the dashing Matthew McKeown as Pirate King; -Rebecca Woodmass is outstanding as the awe-inspiring Mabel. Costumes, set and lighting are all well conceived; direction is seamless and well choreographed. A very entertaining and light hearted with very broad appeal!

Produced by the McGill Savoy Society, playing at the Moyse Hall McGill Campus, February 12 to 20. Tickets 20$ to 12$ www.mcgillsavoy.ca

Michel & ti-Jean

"Michel & ti-Jean" by George Rideout, directed by Sarah Garton-Stanley, features Vincent Hoss-Desmarais and Alain Goulem.

When Jack was feeling wounded or angry he’d sign his letters ti-Jean. He’d save Jean-Louis for his darkest moments.

What do Jack Kerouac and Michel Tremblay have in common? A lot more than you’d think… In the world premiere of Michel & ti-Jean, a script which was endorsed and brought to Centaur’s attention via Michel Tremblay, this play begs the question, 'What if?' A 27-year-old Michel Tremblay, having just published Les Belles Soeurs, and the "king of the Beatniks"; Jack Kerouac, were to meet at a bar in Florida, in 1969 (about a month before Kerouac’s death). In this evocative and spirited glimpse into the poetic and philosophical world of North American literature, the two prolific writers share their thoughts on the art of writing, inspirations, sports, music, religion and the most innate quality they share: their Quebecois heritage!

Entertaining outstanding performances by both actors. Original and interesting well worked material. Sharp, well paced, and creative direction, with equally well designed minimalist set. These two actors will take you on an unforgettable emotional roller coaster ride, a journey with performances that will be branded in your memory long after you leave the theatre.

Presented at Centaur Theatre February 2 to March 7. www.centaurtheatre.com

Geometry In Venice

"Geometry In Venice" a play by Michael Mackenzie, directed by Chris Abraham.

Continuing this season's themes of mentorship and education and the important roles thay play in our lives the Segal Center in association with Crow's Theatre present 'Geometry In Venice'. Adapted from The Pupil, a novella by Henry James, the story brings us into the lives of the Moreen family, an impoverished yet aristocratic British family living in Venice at the end of the 19th century. Desperate to keep up appearances, they travel to the fashionable salons of Europe in search of a wealthy suitor to marry their only daughter Amy (Susanna Fournier). In this play, the playwright has included the original author Henry James (Damien Atkins) as a character into the tale who becomes a promising suitor. Although reluctant and unable to pay a salary, the parents: Mr. Moreen (Aiden Devive) and Mrs. Moreen (Allegra Fulton) hire a Canadian tutor and aspiring writer Pemberton (Graham Cuthbertson) to provide their ailing genius son Morgan (Eliotte Larson) with a classical education. The play is a timely examination of a family's obsession with wealth and status, raising questions of ethics and morality.

The set design (Julie Fox) is sufficiently dramatic yet minimalist in basic concept; the costumes are impeccable. The lighting of Luc Prairie and sound of Antoine Bédard are very intregated and very connected to the story telling. The performances are all well presented across the board with stand out moments delived by both Allegra Fulton (Mrs. Moreen) and Susanna Fournier (Amy). There is an expression, quoted from W.C. Fields "Never perform with children and animals...they'll ultimately upstage you." The performance of the revelation that is Eliott Larson proves this to be tried and true. At the ripe old age of 14, as Morgan playing 12, he is one to watch as an up and comer fresh home grown local talent. He is engaging and fearless in his portrayal of this complex and engaging character.

Is presented at the Segal Center for Performing Arts, January 31 to February 14. www.segalcentre.org

The Daily Miracle

David Sherman's* 'The Daily Miracle", presented by Infinitheatre at Bain Saint Michel, January 26 to February 14 is a topical and current account of where our local daily news paper's fate as it promotes it's own death.

Marty's back at work after suffering a nervous breakdown; Elizabeth's daughter is sick at home with the nanny; Carrie uses al her charmes to impress as she dreams of a job in television; Benjamin is just trying to get the paper out by deadline. All is overseen by the ghosts of an industry that used to be and is no longer relevant. It's another night at the news desk, where a few battle-scarred, overworked copy editors wrestle with fractured syntax and crushed ideals to get the next edition out. Tempers frayed from layoffs, cutbacks and corroded ambitions; it's a miracle they can get the paper out at all. *"Although a play is a work of fiction, as are the characters the true strains and stress of working the desk in today's deteriorating newspaper industry are stranger than fiction."

Featuring a professional ensemble delivering memorable performances are: Jean-Guy Bouchard as Roland the janitor and resident philosopher; Arthur Holden as the nurotic Marty; Howard Rosenstein as the womanising night editor Benjamin; Ellen David plays Elizabeth balancing motherhood and career, and Sheena Gazé-Deslandes the newly hired Carrie. Ellen David's performance is nothing short of brilliant with every fragment of her being she embodies her character completely. Arthur Holden as the quick witted reporter laced with synisism, is so captivating that we hang on every word ("I don't need friends, I'm a newspaper person. ... This is my life, and it is killing me!") from the moment he first appears on stage. Sheena Gazé-Deslandes delivers an energetic and convincing performance in her premier professional stage debut. Directed by Guy Sprung. Set and costume design by James Lavoie. The set design is perfectly designed advantaging the piece, utilizing and taking full advantage of the infinite space.

Tickets: 10$ to 20$ 514 987-1774 www.infinitheatre.com Foto credit: Alexei Anikine.

Our Counrty's Good

Timberlake Wertenbaker's "Our Country's Good" adapted from the Thomas Keneally novel 'The Playmaker'. Directed by Jacqueline Van de Geer.

Based on real events, this is an inspiring tale of the transforming power of theatre. A boatload of convicts lands in Australia in 1788, and a benevolent governor seizes on the notion of having convicts perform a restoration comedy entitled "The Recruiting Officer" a comedy by George Farquhar. 'A play with-in a play' would be performed by the Convicts of the Penal Settlement in honor of the King's Birthday, June 4th 1789. Themes highlight sexuality, punishment, and the Georgian judicial system. A rousing and boisterous theatrical journey, at times both funny and dark.

Wertenbarer's work often contains this format in which the characters are seen to use theatre to say things they otherwise could not say, or to tell a story or myth for a specific political purpose. The plays are often set in different time periods even though she questions the potency of the arts in contemporary culture. The central characters are often unconventional women who question traditional women's roles.

I had seen this play performed once before, a few years ago at the large D.B. Clark Theatre at Concordia. This production was performed at the Joliette womens prison the Saturday before the official opening. It was presented in the round in a gym, set up like a boxing ring; -This format was carried over to the theatre performance space. This challenge is met and overcome by the actors despite some very highly choreographed physical action scenes. A minimalist set design of a tree stump and a few twigs on the floor serve to create the space. The focus is on the text and the delivery of the performances by the well rounded talented cast. Taking on a variety of accents and multiple characters and genders the ensemble delve into this world taking the audience along with them. The overall direction is seamless and the use of space is very creative. In the over two hour play with intermission the time flies by as we're so focused on the action as the tale unfolds.

Featuring a large ensemble of actors, some playing multiple roles: Jonathan Marquis, Emila Xochitl, Bryn Dewar, Kimberley-Sue Murray, Travis Martin, Kevin Kibbey, Anne-Marie Saheb, Jaa Smith-Johnson, Mikaela Davies, Marc-André Poulin, Sarah Hansen, Shayne Devouges, Sophie Gee. Costume design by Heidi Haering & Laura Nhem. Sound design by Anders Velila; Light design by Jody Burkholder.

Produced by the newly formed Griffin Town Theatre. An ambitious 16 performances scheduled at Theatre Ste-Catherine 26 January - 7 February. Tickets: 15$ - 5$ 514 284-3939.

A View From The Bridge

Playwright Arthur Miller's classic A View From The Bridge -A glimpse into the lives, customs, passions, and conflicts of a New York Italian-American immigrant community living in the shadows of Brooklyn Bridge in the 1950's, is presented by The Montreal Theatre Ensemble. Directed by company artistic director Terry Donald... "The story is the examination of one mans obsession and what can happen when that obsession takes over."

While Arthur Miller (Death Of A Salesman; All My Sons; The Crucible) was researching the death of Pete Ponto, a longshoremen who was killed by the mob for attempted treason, he learned of story involving another longshoremen who had disappeared after giving up a family member to immigration to prevent the brother from marring his niece. It became a one Act play opening off-Broadway in 1955 with actor Jack Warden as Marco. It played for 149 performances as a double bill with 'A Memory of Two Mondays' and critics panned it as cold and un-engaging. It had been Miller's attempt to distance himself from psycho-realism creating a one act one arch Greek action play. -In a 'Brechtian' sense to reveal abstract ideas about the human condition. Miller reworked the play into a two act version expanding on some of the characters building up the neighborhood. It reopened on Broadway in 1965 to 780 performances. Assistant directed by Dustin Hoffman it featured a cast of 15 including Jon Voight as Rodolpho and Robert Duval as Eddie. It was later made into a film as a domestic melodrama directed by Sidney Lumet staring Maureen Stapleton as Beatrice Carbon. Although set in Brooklyn the filming was done in France.

The play is a tragic tale of family, conflict and betrayal in the true style of a Greek Tragedy. The raw clash of old world and new is brought to life on stage. the play allows the audience to look closely at what it is like to be a human being and how social conformity can challenge raw emotions. It's themes embody responsibility to community and oneself, the sinner versus the saint, and the true nature of humanity. As human beings we are all capable of great acts, weather good or bad, before judging the actions of someone else, think about how you would react if presented with the same set of circumstances. The story is a cautionary tale about Eddie Carbone, a longshoreman who lives in the Red Hook district of Brooklyn and his obsession with his young niece Catherine. He is an ordinary man driven by extraordinary circumstances.

Featuring an ensemble cast of 22 consisting primarily of the theatre company members as well as many John Abbott alumni including: Adam LeBlanc (Eddie), a profoundly riveting pitch perfect performance; Matthew Raudsepp (Rodolpho), a sensitive and sexy portrayal, with great comedic timing, and gets to show off his vocal singing chops; Peter Vrana (Marco), a powerful-masculine persona; Rebecca Croll (Beatrice), a giving submissive yet strong and determined portrayal; Christie Hebert (Catherine), fresh and innocent with a funny naivete; Christopher Moore (Mike), Jade Hassouné (Tony), Bill Fletcher (Alfieri), Leonardo Valente (Louis), Raphael Grosz-Harvey (Immigration Officer #1), and a dozen others in cameo and walk on roles.

This is as good as any production you'll see presented on any of the larger English Theatre stages in Montreal. Every element is treated with excellence and professional flare including Costumes, Set, Lighting and sound were all impeccable. The direction was equally precise with seamless transitions and great staging. My one and only qualm was with the staging of the final ending tableau; somewhat forced and melodramatic when compared to the rest of the choices.

The play is presented at the Casgrain Theatre - John Abbott College, January 14 to 30. Tickets $20. - $18. info@mtlte.com

CABARET : The Musical by Kander and Ebb.

The Arts Undergraduate Theatre Society presents CABARET at the McGill, Moyse Hall. January 14 to 23. Director Julian Silverman, musical direction Chris Barillaro, producer Meg Annand. A very large ensemble of 19 performers and a production team of 12 bring this equally very large musical to the McGill stage. A daunting task for any production company to pull together on a shoestring budget with equally limited time constraints and was perhaps a somewhat ambitious project for AUTS to undertake.

This was my second time seeing a rendition of this piece in less than two months; The previous was the 'full play version' mounted by the graduating class of NTS, see review below. This is the first time I've seen the 'full musical version' staged. It left me wondering what it would be like to see it done 'professionally'; This is not a good thing. I never got the 'je ne sais quoi' gut 'emotional' feeling that musical theatre fans get when experiencing the joy of musical theatre on stage. Admittedly I'm most familiar with the material of the Oscar winning film version and that sound track; -I was hopeful to be equally entertained, but the 'vilkomen en bienvenue' on this one fell somewhat emotionally if not musically flat.

Some noteworthy performances are: Renee Hodgins (Sally Bowles), who played Little Sally in "Urinetown", is adequate in this role but never quite hits the big notes at the big moments; These characters are some really big shoes to fill. Phae Nowak (Fraulin Schneider) is very convincing and virtually flawless in her portrayal of this popular role. Cayleigh Eckhardt (the tenant) delivers a powerhouse solo number stealing the scene away from the rest of the ensemble. Surprisingly the male leads and chorus were all vocally quite strong, a real relief in a town not noted for it's male triple threats. The only two notable critiques were for: Nicholas Allen (Emcee) who although perfectly cast in the role giving a very courageous performance, there were a few moments where the vocals were somewhat forced and over the top; Although so is this character, sometimes a little constraint and a "less is more" approach are the way to go. And to Anthime Miller (Herr Schultz) who gives us a moving performance, yet vocally there were a few moments that were somewhat muffled and lacking precision on the diction. The ensembles performances were over all quite good with some great moments delivered by the cast of students who herald from a range of departments: music, drama, and literature.

Although most of the flaws can probably be attributed to a lack of rehearsal time and limited resources and overall experience, some elements are still worth noting. Costuming was somewhat inconsistent with elements that fluctuated from a variety of decades. The staging was all too often placed up stage, distancing a lot of the action from the audience rather than creating opportunities for more intimate moments in this very large space. Details to blocking was sometimes awkward to clumsy with some moments in desperate need of cleaning up. And far too many transitions that were overwhelming for the cast and distracting to the audience. Fortunately, thanks to the musical direction of Chris Barillero, the orchestrations of the band were excellent and the music was impeccably pure delight.

Having first discovered this company in 2008 with their production of "Urinetown", which made my top ten list that year, then last year's joyous production of "Hair", this production of Cabaret ranks as my least favorite of the three.CABARET at the McGill, Moyse Hall. January 14 to 23. www.auts-cabaret2010.blogspot.com

Eurydice at McGill's Players' Theatre

Eurydice by Sarah Ruhl, directed by Rachel Paul. Is the first production presented by Players' Theatre this season. Features: Megan Stewart, Marko Djurdjic, Francois MacDonald, Cory Lipman, Amelia Haskell, Fiona Penny, and Ayla Lefkowitz. Set design Kate Sketchley.

Eurydice is a whimsical re-imagining of the classic Greek myth of Orpheus and his lover, Eurydice. This tale has inspired many other stories, plays and operas. This play focuses on the character, Eurydice, and her journey to the underworld after she dies suddenly on her wedding day and her struggle to remember the love she has lost. Her tale embraces not only the romantic love but also that loving bond between fathers and daughters. The Play is a beautiful exploration of the pleasures and the pain of: love, loss, memory, and the depth of the human connection; A love letter to all as a celebration of our relationships.

Seem-less blocking by director Rachel Paul keep the pacing flowing and natural. Overall the actors deliver very good performances; however stand outs to me were those of: Francois Macdonald as the Father which was admirably constrained and consistent; As well as that of Cory Lipman as the Lord of the Underworld which was both humorus and frightening. Also, I've never been so entertained by 'Stones' before. This movement ensemble added a strong element to the originality of the production. Most noteworthy was the overall set design, not something one normally expects from this level of production, it was overwhelming in a good way. Warning, You'll be requested to remove your outdoor foot wear, so maybe bring your slippers and sit back and enjoy this one act gem.

Performances January 21 to January 30 check directly for days and times. Rates: 6$ to 8$ www.ssmu.mcgill.ca/players 514 398-6813

Simon à Toujours Aimé Danser

1770: At 14, at the Sistine Chapel, the prodigious Amadeus Mozart succeeded in rewriting without any mistake 'Allegri's Miserere', after hearing it only once.

1974: At 11, at the New Hope Baptist Church, the amazing Whitney Houston succeeded in making people sob by singing in her angelic voice 'Guide Me, O Thou Great Jeovah'.

1994: At 12, Simon, at the church of Saint-Rémi de Napierville, succeeded in achieving the astounding miracle of his voice breaking live, right in the middle of his solo, his voice choked in front of the pious crowd. It was enough for him to stop believing in God, and to turn to his second divine gift, dance.

Recipient of a Raymond Blais grant.
Official Harvest selection of the Fringe 2007.
Recipient of the Cirque du Soleil award for best performance in French, 2007 Fringe.
Recipient of the Cornucopia for Best Solo performance, Harvest 2007.

First presented three years ago this production has since toured the Globe including as far away as in Africa. This critically acclaimed theatrical movement solo performance is created and performed by Simon Boulrice and directed by Sarah Berthiaume. Both poetic and literally moving, it is as humorous as it is emotionally moving. The grand dramatic jestures are well balanced by the nuance of his subtle gestures. Recently playing on the Thèâtre d'Aujourd'hui stage to sold out audiences, January 12-30.