Cat on a Hot Tin Roof steams up the Segal Center

I’ve been anxiously anticipating attending this play ever since I saw it announced in this season’s program at the Segal Center. I, like many others, only know the story that was portrayed in the 50’s film with Paul Newman and Liz Taylor. The first theatrical version (The original Broadway production directed by Elia Kazan opened in 1955 with Ben Gazzara as Brick, and Burl Ives as Big Daddy; Gazzara's understudy was Cliff Robertson.) and the film are different from the original text; the huge issue of homosexuality is obscured in the 50’s theatrical and film versions; queer was considered to be a career killer back in the day. In the Play, the character Brick is definitely concerned that other people might think he's ‘queer’. The above artists all went on to very successful careers in film and TV.
 
A revival in 1974 restored a lot of the text that had been removed by Kazan from the original. The Segal production fortunately for us is essentially the 1974 script. It is a story that revolves around inheritance. Like father like son… Big Daddy and Brick are both stuck in relationships with wives that love them, but they don’t love in return and wish they did; both are insecure with their masculinity and they don’t believe they are good enough to even deserve that love; both escape life, one though his drive for success, and one through the drive to the bottom of the bottle. The Play embodies all that defines the themes of: deceit, denial, greed, and manipulation.

Incredible casting, with flawless performances delivered from the whole ensemble, seamless direction, amazing set and costumes, as well as great sound and light design merit this production a very well deserved standing ‘O’ and a Dee Arr ‘Go C IT!’

Now for the PP = The Picky Pen. Just keeping it real!

The text could have done with a few edits of the repeating of the title in the text. Once was very clever, twice was enough, but I counted six times… way too many. I would like to see (Brick) portray his anxiousness with less hobbling and limping around the stage and more internalized physical traits that would gradually make their way to the surface with: ticks and twitches slurs and stutters. He could have messed up the bed once it had been made. He doesn’t have a voice that naturally carries well nor does the character's, so he needs to increase the projection when facing US and during the fireworks in Act 2. He reveals ‘barely’ enough teasing peaks at his incredible physique to accommodate the sexuality role. However a little more reveal wouldn’t hurt, this is the 21st century and ‘Montréal’, plus I’m sure it would be appreciated by the women in the audience (and some men too). Finally, his pajamas would be better if a darker color, burgundy (wine) or a golden (whiskey) tone and should be a smooth silky satiny textured material. For the sound effects watch the volume of the storm in particular.

FOH: Two intermissions is a lot… but if need be then limit them both to a maximum of 10 minutes each. I would suggest starting performances at 7:30pm when productions have a long running time of over 2:30, especially premiers. Patrons checking their coats should be warned that it can be drafty in some sections of the theatre depending on where they are seated.

Cat on a Hot Tin Roof, by Tennessee Williams, opened Thursday, October 30th at the Segal Centre for Performing Arts, 5170 Côte Ste. Catherine Rd., and continues through Nov. 16. Call 514-739-7944 or 514-790-1245 or www.segalcentre.org or www.admission.com.

Life Is A Dream is 'dreamy' very entertaining!

My first concern walking into the performance space was that there were sand piles on the stage. Flash back to last weeks "Scorched" sand strewn set (see review below). Quickly I realize that the pyramid shaped 'sands of time' are representative of the characters' lives who we were about to meet in this classic translation (Edwin Honig) of the 17th century "La vida es sueno" by Pedro Calderon de la Barca.

Do not be warded off by words like: '17th century period' or 'a translation' from the Spanish version. This is a high-energy production with an easy to follow plot and an equally easy to listen to text that will invite you to invest in the characters' and keep your full attention in this fable with a message that transcends the test of time. Surprisingly quick delivery of a rich clever text filled to the brim with humorous wise cracks and subtle messages that are delivered from all of the characters, hold the audience attentive and wide eyed throughout.

Segismundo, is released and descends from his prison tower, where he has been since birth, is the focus of this comedic drama 'à la comedy of errors'. In his tower he could only imagine what life out side was really like. Once freed will he seek out revenge for his fate or effect positive change on the world below. Through his experiences, or dreams, he learns that insurrection has passed and there is no longer any time or space for traitors and rebels. There is little wisdom in revenge or further provocation or cruelty. Only forgiveness, the real expression of Segismundo’s power, and the restoration of a belief in human goodness will bring about the possibility of permanent happiness and freedom. Segismundo concedes that life, although shaped and driven by dreams, may be more than just the fiction and illusion he once conceived it to be. In a world of madness, the voice of reason is to point out that without dreams and ambition there can be no real change.

The performances of all the cast are well performed; Particularly Andreas Apergis, Peter Batakliev, and Zachery Fraser are awesome in their roles: Segismundo, Clotaldo, and Clarion respectively. The fluid pacing, immaculate use of space and blocking are a refection of Alison Darcey's master direction and understanding of the material and command over the production. The costumes are superb and add to the overall stage design; I appreciated the 'bare feet', instead of potential use of heavy (noisy) boots, which allows the actors to have more freedom of movement which they take full advantage of throughout. The live band adds to the authenticity of the era reminding us of the what the original production might have been like; As does the design and use of the sparse set and decor. However, I really could have done without the 'sand' and the make shift water trough / river in act 3. Lighting could have been 'brighter' particularly in act 1; the timing on some of the fade ins increased on Segismundo both upper and lower stage, and better use of light to create more ambiance and special effects.

Playing at Centaur only until November 1st. Catch it while you can. This is a real treat... not a trick!

SCORCHED : Classic Greek tragedy or a flawed and untidy Eulogy ?

Described as the ‘best’ that English theatre from Toronto has to export, if you’re into short and sweet stories that wrap up neatly, then the English translation by Linda Gaboriau of Wajdi Mouawad’s ‘Incendies’ playing at Centaur to November 2 is definitely NOT for You. Mouawad is obviously overly concerned with love, death, home and family, in a war torn world in this attempt to gain our compassion for the plight of his characters.

Director Richard Rose could have taken a flame torch or at least a very sharp pair of scissors to this never ending and overly poetic story and kept Scorched burning brightly. He chose instead to retain the sprawling text and over stated hyperbole leaving us with a very dry after taste of the Plays subject matter and the characters. This is a shame since the stylized story is reminiscent of a true classical Greek tragedy, but unfortunately also seems as long as Ulisees The Iliad. I did enjoy the first act, even though I found myself checking the time anticipating an intermission was long overdue.
 
The sound is well designed by Todd Charlton, as is Graeme Thomson’s  lighting; His set is also adequate and I was surprised how it could be used throughout the entire two hours and forty minutes of the Play without being changed and still it remained useful. And, there are some clever uses of some special effects, although they are possibly not to all that original. BUT the second act with its need to preach and drive home every detailed explanation knocks the punch out of the message and the beauty of the piece like using rusty nails on fine finished furniture. You know it’s time to end the play and wrap things up when less than thirty minutes into the second act everyone still awake has figured out the twist and yet the play rambles on for an additional half hour. Add to this a trick of blocking and lighting so we think that the play is finally over, and we hear a smattering of applause, just to be served up an extended Epilogue leaving us cringing our toes and grating our teeth for something or someone to finally put an end to it all.

Stand out performances were presented by both Sergio Di Zio as Simon and Alon Nashman as Alphonse. I felt that the actors were restrained across the spectrum by the extensive blocking and direction; There could have been more attention made to layering the characters and helping them come across as less one dimensional like with Sophie Goulet as Janine and Nicola Lipman as Nawal. If this is what we can expect as the 'best' to come out of English Canada theatre... then I'm very concerned with the direction of thinking that longer is better dollar value. It is also ironic that this Play is a translation from Québec and the translation has traces of the French original version peering throughout that bilingual or Francophone can detect easily. If Québec is to expect more cultural budget cuts then English Canada will have to start to develop more of its original works.

HARVEST V The Montreal LGBT International Theatre Festival

Highlights of HARVEST V Oct. 7 - 18, 2008. Week one featured three (3) Plays including one (1) world premier THE CURATIVE and two (2) touring one person productions: FLUID & LAY DOWN.

Two (2) most memorable moments for me were: Opening night, Tuesday, Oct. 7; day after my b-day. It was a nice turn out with some familiar supportive faces in the house. The Play, THE CURATIVE, opened the festival with its' world premier. Followed by a casual and yummy buffet of snacks and sandwiches and even cupcakes. It was a very friendly atmosphere and it was a pleasure to host everyone there. Just missed my hubby though.

Check out Pat Donnelly's review of: The Curative:

http://www.canada.com/montrealgazette/news/arts/story.html?id=
912af626-0c31-4448-9ef8-69a79d66640d

Then Friday October 10th there was a special performance by
singer/songwriter Pamela Pachal who opened for Fluid at 19:25 with a
30min. set. This was a complimentary performance included in the price
of the ticket for the play Fluid.

FLUID written & performed by Erica Kate MacDonald Brooklyn, NY played three (3) performances. This production is outstanding as Ericka transforms into some very likable and also some more questionable characters. The pacing is 'fluid'! Don't miss the opportunity to spend an hour with Erica...you'll want to spend another and many more once you've had a taste of her fluid... That Friday evening was a perfect combo of song and performance.

LAY DOWN and LOVE ME AGAIN – James Howell from Halifax, NS. James brought us his stand up lay down 'absurd' style satire and irony to Montreal after touring the globe with this one man show. It is a joy to watch performing his take on the universe.

This week is the final production opening @ SKY CABARET: WHAT'S THE POINT?! from NYC, NY. A musical comedy review that has a broad audience appeal. Looking forward to it.