HAUNTED HILLBILLY @ Segal Center Studio to Dec. 20th.

Sidemart Theatrical Grocery presents the much anticipated musical adaptation of Derek McCormack's novel The Haunted Hillbilly, an episodic and eerie carnivalesque thrill-ride. Play by Graham Cuthbertson, Songs & Music by Matthew Barber, Directed by Andrew Shaver. The supurb cast of 8 actors: Daniel Brochu (Erskine Mole) Patrick Costello (Hyram Woodside) Gemma James-Smith (Audrey Woodside) Greg Karmer (Nudie) Trent Pardy (Pastor Ray) Alexis Taylor (Bobbi) Jackie Torrens (Lil Molly) Kyle Gatehouse (Dr. Wertham); The very enjoyable stage band: Matthew Barber, Joe Grass, Julian Brown. Great light & colorfully creative set design by Sarah Yaffe; Playfully fun costume design by Susana Vera; Sound by Jesse Ash.

The play is a cowboy carnival caper, complete with country music and plenty of Gothic sleaze. Hyram Woodside in his quest to become the greatest star in country music has his life turned into an out of control carnival ride by Nudie a bloodsucking couturier who sees only one thing in Hyram: everlasting fame and fortune. When Hyram finds the successful life on the road too lonely he strays from Nudie's grasp in a desperate attempt to secure his own happiness. The consequences are Nudie's jealousy compels him into an un-holy war against Hyram and all the unfortunate souls that are close to him. The story evolves with magical poetic cadence as Nudie then breaks the career of the country legend Hyram (aka Hank Williams). Like many of the other characters in the play they're based on real people. Nudie 'The Carnival Couturier' characters name is a twist on 'Nudie, the Rodeo Tailor', a real-life figure perhaps best known for dressing Elvis Presley. In this spellbinding world, the gay fashionista also happens to be a vampire. GO C IT!

The Haunted Hillbilly was named a book of the year (2003) by both the Globe & Mail and the Village Voice, and was nominated for a Lambda Award for Best Gay Fiction.

Performances: Dec. 7 - 10, 12 - 17, 19, 8pm. Matinés: Dec. 13 PWYC, 20, 2pm. Tickets $20.

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