WEST SIDE STORY at 50 still full of timeless tunes.

WEST SIDE STORY opened over 50 years ago taking the musical world by storm. Presented by www.lpexpression.ca

From the moment we arrive at the Corona Theatre (2490 Notre-Dame west) we are entertained by street performers handing out programs as we wade through the lines of patrons to get our tickets, then to check our coats. More members of the cast weave through the aisles of the space in character, teasing the audience as we wait for the curtain to come up.

Under the musical direction of Daniel Ouimet a 24 piece orchestra breaths new life into this Broadway classic proving that Leonard Bernstein's music is timeless and Stephen Sondheim's lyrics are truly appealing to audiences of all ages and languages. The songs are so familiar to the ear that we even forget that they are being sung in French. And it is fascinating to hear how easily they are adapted to the language without loosing a beat.

The cast is vibrant and giving, and we feel their joy in performing these characters that most of us have seen many times on screen and TV, proving that a stage production of the original material is always better enjoyed live the way it was created to be presented. Director Philippe Gobeille takes few liberties in presenting a modernized version in this production; One is by adding some high aerial performers into the choreography which was appreciated by all and really appealed to the younger crowd.

Stand out performances are made by Nathaniel Siri as Bernardo and Jean-Sébastien Bonneau as Tony and Caroline Piché as Anita but it is Catherine Ouimet in the role of Maria that is absolutely amazing. She delivers every note to perfection and is surely a star on the rising. And this big guy managed to get a tear in his eye and a lump in his throat at the end. Over all the cast is interesting to watch and the choreography of Geneviève Lauzon and Joelle Métayer is as much a thrill to the eye as the music is to the ear. Which is essential in this heavily dance driven production.

Okay, so the sets and costumes remind us throughout that this is an amateur production, but this is easily forgiven by the pure energy and dedication of its hard working cast.

For those of you who don't remember, it is also very long (3 hours) so be warned to eat before the play. There is a 15 minute intermission. The venue is well suited for the piece and the bar appreciated as well.

Only two performances left: Saturday March 29 at 14h and 20h.

Prix des billets
Catégorie  A : 30$ (taxes incluses)
Catégorie  B : 24$ (taxes incluses)

Achat de billets
Les billets sont en vente aux  endroits suivants :
À la billetterie du Théâtre Corona

Sur  place au 2490 rue Notre-Dame Ouest, Montréal
(métro  Lionel-Groulx)
Par  téléphone au 514-931-2088
www.theatrecorona.com

Sur le Réseau Admission
Par  téléphone au 514-790-1245
En  ligne sur admission.com

I, Claudia = A stellar solo multi-character mask performance!

I, Claudia is such a theatre treat I’d venture to say it is finger licking good and as delicious as a perfectly season well cooked rib from Bar B Barn.

The play’s title is a take on ’I, Claudius’ - The connection lies in the fact that they are both secret accounts of the inner workings of a character. Claudia is a 12 year old plain girl in the physical and emotional throes of puberty, with unfortunate social skills and reeling from her parents’ divorce. Her father is about to remarry and she is suffering from the anxiety that ensues from his pending nuptials. Claudia speaks to us from inside the boiler room in the basement of her school (a brilliantly realistic stage design), where she stores all the things that are secret and dear to her; that even include her Fathers’ odd socks. Some important adults in Claudia’s life - her grandfather Douglas, her father’s new girlfriend Leslie and the school custodian Drachman - shed light on her situation.

I first knew something special was about to happen when I walked into the new space at the Segal Center and saw the intimate seating and the elaborate set design. This was reiterated when not long into the running of the play I realized I had a cramp in my cheeks; Facial ones, not those I was sitting on. I realized that I had been grinning since the lights dimmed and the curtains were drawn open. For those who know me I usually wear a permanent ‘straight poke face’ expression …
 
The 1 act 90 minutes piece is smart, quick and perfectly paced. Michelle Polak portrays four characters to perfection in mask. The charming and intelligent custodian Drachman guides us through the story as a pseudo narrator with many tricks up his sleeves.
Laced with solid humour and compelling subtle nuances Claudia makes her point (things aren’t always what they appear to be on the outside) clear and poignant;
Even more endearing, if it is possible, is her Grand Father Douglas, and if I could add a comment it would be you can’t get enough of Douglas. Equally well performed,
however somewhat less enchanting is the step-Mother ‘to be’ Leslie. Overall Kristen Thomson’s Claudia leaves our appetite content but craving for a second helping.

I, Claudia
By Kristen Thomson
Directed by Leah Cherniak
Starring Michelle Polak

The filmed version of the play, directed by Chris Abraham, was voted one of Canada’s top ten movies of 2004 by the Toronto International Film Festival Group. Playwright and actor Kristen Thompson is also a three-time Dora Award winner for her work on stage.

I, Claudia is the first production to be presented in The Segal Centre’s new studio space! Playing March 16 - April 13, 2008.

'night Mother' is a great night of theatre.

What may appear at first glance to be a very 'dark play' ...  "night Mother" treats a very 'dark subject' with a lot of light on  humanity and a lot of humor about relationships, family, and everyday life, in a very smartly written and tightly paced production now at MainLine Theatre by Altera Vitae.

The story behind Marsha Norman's Pulitzer Prize winning play for Drama in 1983, is of a middle-aged women, Jessie (Alexandra Valassis), who one random autumn Saturday evening tells her mother that she is going to end her life.  Her mother, Thelma (Sandy Ferguson), first thinks her daughter is bluffing, and when she realizes her daughter is intent on suicide she tries to talk her out of it, much like she would talk her out of doing anything for herself.  A normal reaction of a mother who’s just been told by her daughter that she is going to commit suicide? Maybe? Maybe not? She had a phne, so why didn't she use it to call for help?
It is soon made clear to us that this IS a typical reaction from this mother to her daughter.

Jessie has a list of things she wants to go over and do before shooting herself.  So a typical Saturday evening of catering to her mother ensues, despite what she has planned. The play becomes a discussion between the mother and daughter before 'the inevitable end'. Here is where the play becomes much less about the result as it is about what has lead to Jessie making this the permanent solution to her fatigue with her life. It is soon made very clear that it is about control. Making 'the ultimate' decision to end her life on her own terms. "...I'm ready to get off the bus..."

We understand why Jessie has decided to commit suicide; her life is devoid of anything joyful but for a few household chores, and even though they live together, she and her mother know very little about each other. Jessie wants to control the only thing she feels she truly has control over, her life. If she only had approached 'living' with the same zeal she applies to her own demise it would have been and could have been a whole different play. But, she never lets you doubt she is going to win in the end.

There is plenty of well distributed humour in this reality check on life and family relationships and taking everything for granted.  We never feel any sympathy for Jessie, as many of us have had it much worse, and it is a terrible tragedy to give up on life. The story never becomes too maudlin and dark by maintaining a high energy and efficient pacing throughout. We do feel sorry for those she is leaving behind however; She will die, they having never ever really known who she really is or could have been.

The set unfortunately adds an amateur appearance to this production from the outset. This is one area where less would have been more. This is a play that stands on its' own and the excess is distracting from the text and text.  There are also some easy to fix blocking issues mostly due to the playing surface and seating at the venue not being attended too. We loose a few special moments with Jessie where making the point that the Mother being the 'only thing' standing between Jessie and her bedroom door has taken precedence.

Alexandra Valassis' Jessie manages to maintain the cool and determined attitude required to convince the audience that she means what she says and not come across as too pathetic. Sandy Fergusons' mother however comes across as too whining and tedious at times making her appear to be somewhat unintelligent, and less appealing for us to endure. We relate to Jessie's desire to leave her Mother behind, but that isn't the intent of the play. Overall the production runs rather flawlessly with very strong performances by both actresses.

The play features some haunting original music, A CD is available for purchase to benefit suicideaftermath.com

Directed by Jesse Crobeil, produced by Caroly-Fe Trinidad.

Plays evenings at (8pm) to March 30th with (2pm) matinées on Sat. & Sun. to March 30th. Reservations: 514 935-7277 #105 or askus@altervitea.com

Reviewed by Davyn Ryall
http://deearrhasapoint.blogspot.com

“Relative Good” or “Fanaticisms Without Borders”

“Relative Good” or “Fanaticisms Without Borders” ...
despite some shortcomings is, pardon the pun, relatively good.

Montreal playwright David Gow and director of this production presented at Centaur is an all too real investigation into how easy it is to lose our presumed Canadian civil rights in a world immersed in fanaticism and intent on revenge. A fictional character Mohammed El Rafi or Moe to his friends (Mikel Mroué), a Syrian-born Muslim, engineer, and Canadian citizen, is detained at JFK airport in New York while in transit. Canadian consular officials are unsuccessful in attempts to attain his release and the man’s fate becomes increasingly dim while caught up in a demonstration of security law-language. Innocent people have been arrested, like in the all too non-fictional Canadian Arar incident, (Maher Arar, who was actually shipped to Syria, incarcerated and tortured), innocent people will continue to be detained if they fit into ‘the security-risk profile.’

This is a very personal portrayal of the lack of humanity experienced by the family of a man branded by his name and racial profile as the play puts a face on the political issue of detention, and the fears and agonies that ensue. It is a smart, faced paced and tightly directed chilling account leading the audience in a discussion of what if it happened to you?

Play by David Gow
With:
Don Anderson
Christine Aubin-Khalifah
Marcel Jeannin
Stephanie McNamara
and Mikel Mroué

Directed by David Gow
Set Design: Vincent Lefevre
Costume Design: Ginette Grenier
Lighting Design: Spike Lyne

Excellent casting and a set that rises to new heights at the Centaur (A production where a seat in rows G through M become preferred seating.) helps to deliver this new 'cold' waring nation message to the audience.  Mikel Mroué gives us compelling reason to empathize with Moe with his delivery of pleas for compassionate understanding and basic reason. The Canadian Consular lawyer, Claire Hopkins (Stephanie McNamara) and the attractive American interrogator, Jenkins (Marcel Jeannin), plays "good cop" convincingly portraying the dilemma that his character finds himself in buy having to do his ‘job’ well, of intently never really listening to Moes' truth.

Laced with humor to lighten the dark chilling mood with quips like:
US Agent: “Tim Horton’s…who is that?”
Moe: “Its’ a coffee shop... like Starbucks, but for normal people.”

Ultimately it is the fanatical love and devotion of a wife for her husband that brings Moe home, and his fanatical love of his simple life and endurance that keeps him alive and motivated to survive this ordeal.

This is the one area where the play falls short in delivering its message of humanity. The play relies too heavily on the wordy text to create empathy for the situation that Moe finds himself trapped within. Although the ample heavy decisively political jargoned text seemingly ripped straight from a CNN special on AC 360 like the words of an Obama speech gives the actors all the opportunities to show off their eloquent enunciating chops, there is a lack of compassion for what Moe has left behind in the ‘home country’ where he lives and what he experienced in the 'home country' where he was born, are generally lacking.

Which ultimately begs us to question in the final scene, that arrives all too quickly, in which Moe is reunited with his wife, and he lets out a solitary scream, why didn't she share in that scream? And, what terrible experiences was Moe subjected to live through back in his 'home country'? Gow backs away from the horror that an Arar and others like him must have ben subject too. We are treated through a viscerel monologue to what his wife had to sacrifice in her plight to survive the fight for his freedom, but we are cheated out of what he had to survive and the actual tortures are only briefly alluded to. The play could have taken that extra step towards realism as long as we were treating the issues of 'isims'.

Plays at Centaur until March 30, 2008.

Ireland's Own Carmel O'Reilly TONIGHT

If you can’t make it to the Emerald Isle for Saint Patrick’s Day then make room in your agenda for an evening with Ireland’s Own Carmel O’Reilly at Theatre Saint Catherine. Timely produced during Irish history month and a week prior to the celebration of all things green, this production is a Hoot and a Haller”. The play written by and starring Colleen Curran herself is cleverly directed and choreographed by Corey Castle and features Glen Roy as Carmels’s homebody brother and a cameo appearance by Janis Kirshner.

Carmel O’reilly, allegedly the illegitimate daughter of a famous US president of Irish decent, charms the lucky pants off her attentive audience. This is not a sit back listen and observe production, but rather an engaging and inviting event keeping the audience on their toes and their feet, literally.

If you aren’t of Irish decent you will be searching your family heritage tree to find any possible Druid roots after experiencing this play. If I had one complaint it was the venue; a cabaret setting would have been much more appropriate to the setting of the play.  I left craving a pint from a local pub, and wanting Carmel to tag along with a song and a sing along.

Playing at TSC 264 Ste-Catherine East to March 8th at 8pm and 2pm matinées 8th and 9th. 20$/17$ Res. 514 284-3939.

Highs and lows at Hanging Rock...

Adapted into a play by Laura Shamas, “Picnic at Hanging Rock” is based on the 1967 novel by Lady Joan Lindsay and was made into a film by director Peter Weir in 1977, released in N.A. in 1979.

Set in 1900 the weather is beautiful outside but everything is not always sunny inside a private boarding school for a group of Australian schoolgirls as a romantic Valentine's Day outing ends in intrigue. The girls are taken on an excursion to a picnic to Hanging Rock in Victoria’s Mount Macedon. Four girls wonder off but only one returns. A teacher also disappears. It is a mystery how they went missing and why the one survivor remembers nothing.  The constable and many of the townsfolk try to solve the mystery of what has happened to the three students and the mathematics teacher on top of the jagged peaks of Hanging Rock? A delicate look at crisis, greed and honesty at the turn of the century it is a hauntingly ironic play showing that what seems pristine and
proper on the outside may not be free of moral corruption on the
inside. The final climactic twist is shocking and bittersweet, with an impact that is unforgettable.

Directed by Barbara Kelly and acted in by Dawson’s third year Professional Theatre students.

-Website:  www.dawsoncollege.qc.ca

The 'highs' of the production are: A first act that starts off well paced and choreographed introducing the audience to the large array of characters. Mrs. Appleyard, the matron and headmistress of the college who nips brandy on the sly, is brilliantly portrayed by Stephanie Costa with a 'spot on' performance she interprets her role to perfection. The beautiful young French teacher Mademoiselle De Poitiers, who may know more than she will say to the authorities, is played by Nadia Elena Radu with a measured comedic touch and mystery. The costumes by Elizabeth Cognard are very appealing as well.

The 'lows' and there are many to enumerate: Starting with the accents used by the actors that are undefinable for the better part, and which unfortunately quickly remind the audience that they are watching a 'student' production. The blocking choices by directing the actors to endless treks through the audience, behind the upstage set, and laborously climbing up or down the stage mote to depict the distances traveled by the characters is condecending to the audience at best. And the click clack of high heels on the plywood set, echoing throughout the space, sound nothing like climbing on rocks. Finally, the endless blackouts between the multiple scene changes in act two are not only distracting but dizzying to the eye. Act two suffers from rushing to the end of the story making the audience more anxious to get the experience overwith than to discover 'who done it?'.

There is a musical version of this play, which at first inspection seems to be the right vehicule to interpret the story based on the above production that lacks content and consistency. The music could serve as the missing element needed to weave the story and enhancing the quality of the production to a more entertaining and audience pleasing play.

The musical
http://www.youtube.com/watch?v=IGqyruGh1W0

Half Life unfortunately suffers as half a play,

MONTREAL- John Mighton's Governor General's Award-winning Half Life is set in a nursing home for the aged and deals with the ravages of aging and memory loss and the lives that the residences once lived.

The story is of Clara, softened by the ravages of Alzheimer's Disease and Patrick, a curmudgeon suffering from the effects of a lifetime of binge drinking. These two residents of the geriatric-care facility find an unlikely relationship in what might be consider the ruins of their lives. Brought together by their loneliness and their failing health, they bond, building on a shared memory that it is most likely imagined.

Half Life attempts to be more than a love story set in a nursing home by moving the action beyond the setting of the home in which most of the play is set and involving several other characters; Where by Mighton gets over ambitious by broadening the scope of the play to challenge our notions of memory and interpersonal relationships.

The four principals all give adequate performances, but stronger supporting characters are well portrayed by Maggie Huculak who brings a brisk warmth to her performance as a caregiver who actually does care, and Barbara Gordon who provides comic relief as Agnes, a crusty women determined to drag the entire world to suffer through her old age pains.

Half Life unfortunately comes across as half a play, better suited to a Fringe festival format rather than as a featured production. The space is ill suited for the intimacy required to enable the characters to properly ingratiate themselves with their audience. The lighting design, although among the best I’ve ever seen at this space, is so good that it distracts from the performances. While the limited audience that the play appeals too wait to receive the next social message being delivered by the characters salt and peppered humorous lines are sprinkled throughout the short play to ensure that they remain alert through each of the endless elaborately choreographed transitions that overshadow the scenes themselves.  The play leaves the impression that a pile of clever ideas were placed in a bag of shake and bake and a production then spilled out onto the stage but the bread crumbs didn't adequately coat and flavor those ideas.

The play would benefit from less effort to deliver socially relevant rhetoric to justify the significance for the message, and more attention to entertaining with substance in the dialogue. This would have made the delivery of the message that much more poignant. Half Life a presentation by Necessary Angel productions is playing at Centaur Theatre.