dee arr's 2009 theatre review & Public opinon poll.

In 2009 dee arr assisted @ : 88 performances; 66 presentations from 65 productions, presented in over +12 houses. This years' official review will have: 1 retro-mention; 1 special mention; 6 honorable mentions; A Top 12; Maybe even a bottom 3. The plays that have been selected were announced on air, Radio Centre-Ville 102.3FM Arts Notebook. You too can participate and vote for you own favorite play from this list, and maybe even win a prize too, see details below.

Dee Arr’s rules of official rules of engagement:
Must be presented in the greater Montreal area.
Produced between Jan. and Dec. 2009.
Have had at least three public presentations to a paying audience.
Dee Arr has been invited as a guest: VIP and/or Media.
Not produced by home base company PVSP, or directed by Davyn Ryall.

What motivates dee arr's decisions : The play; The direction; The overall production quality; Technical elements; The performance (s); Emotional connection; Resonating effects.

Honorable Mentions in no particular order:
The Sputniks - C (Special retro Honorable mention)
Till We Meet Again - OPH (Honorable mention, Touring production.)
Cherry Docs – TSC (Honorable mention, play & performance.)
Hippies & Bolsheviks - FSS (Honorable mention, play & performance.)
Brazil Nuts – Fringe / JFLC (Honorable mention, 2009 pick of the Fringe.)
Suburban Motel series: (Honorable mention, productions.)
Haunted Hillbilly - S (Honorable mention, production.)

2009 TOP 12:
Afterlife - G TOP #12
Pillowman - TSC / TOP #11
Die Roten Punkte – C / TOP #10
The Real Inspector Hound – ML / TOP #9
Haunted – SJ / TOP #8
Paradise Lost – TSC / TOP #7
Haunted House – S / TOP #6
Over the River and Through The Woods – S / TOP #5
Educating Rita – S / TOP #4
Tryst – S / TOP #3
Souvenir – MM / TOP #2
Shirley Valentine – C / TOP #1

Listed in approximate production order:
1. Die Roten Punkte – C TOP #10
2. The Sputniks - C (Honorable retro mention)
3. The Ballad of the Young Offender - C
4. Can You See Me Yet? - P
5. The Real Inspector Hound – ML TOP #9
6. Shirley Valentine – C TOP #1
7. Buried Child - S
8. Alan's Search For The Best Girl In Montreal - S313
9. One Man Show For My Brother - P
10. Gone fishing -with Trout Stanley - TSC
11. Haunted House – S TOP #6
12. Tempest in a Tea Pot - ML
13. Doubt - C
14. Tshepang - LC
15. Blessed Are They - SJ
16. The Assumption of Empire - ML
17. Tryst – S TOP #3
18. Age Of Arousal - C
19. Paradise Lost – TSC TOP #7
20. Over the River and Through The Woods – S TOP #5
21. Cherry Docs – TSC (Honorable mention)
22. Hair - MH
23. With Bated Breath - C
24. My Child - ML
25. Death And The Maiden - ML
26. 3 Ways To Handle A Telemarketer - Fringe venue.
27. Fucking Stephen Harper – Fringe / ML
28. Cobra III – Fringe / JFLC
29. Penumbra – Fringe / MAI
30. The Importance of Being Earnest – Fringe /MAI
31. Afterlife – Fringe / G TOP #12
32. Brazil Nuts – Fringe / JFLC (Honorable mention)
33. Dance Animal – Fringe / JFLS
34. Perverts – Fringe / LC
35. My Pregnant Brother – Fringe / G
36. Westmount Theatre Community Group - Edward Albee play
37. Bunbury: Importance of Being Earnest/L'importance d'être Constant - TSC NE
38. I AM I - P
39. Souvenir – MM TOP #2
40. Speak Truth To Power - GC
41. Suddenly, Last Summer - P NE
42. Rock, Paper, Jackknife - C
43. Till We Meet Again - OPH (Honorable mention)
44. Inherit The Wind - S
45. Haunted – SJ TOP #8
46. Pillowman - TSC TOP #11
47. Mysteriously Yours - TO NE
48. True Love Lies - TO NE
49. In Piazza San Domenico - C
50. Suburban Motel series: RISK EVERYTHING - ML (Honorable mention)
51. CRIMINAL GENIUS - ML
52. THE END OF CIVILIZATION - ML
53. FEATURING LORETTA - ML
54. ADULT ENTERTAINMENT - ML
55. PROBLEM CHILD - ML
56. Transpotting - P
57. In Extremis: The Story of Abelard and Heloise - MH
58. Speed-The-Plow - TSC
59. Death And The Maiden – C
60. Educating Rita – S TOP #4
61. Hippies & Bolsheviks - FSS (Honorable mention)
62. Jimmy - C
63. Haunted Hillbilly - S (Honorable mention)
64. Cabaret - MN
65. My Christmas In New York – TSC

C = Centaur = 10
S = Segal = 7
ML = MainLine = 7
TSC = Theatre Saint-Catherine = 6
P = Players = 5
MY = Moyse Hall = 3
G = Geordie = 3
SJ = St-James = 2
MAI = 2
JFLS = 2
MM = McCord Museum = 1
FS = Freestanding Space = 1
TO = 2 Toronto production.
NE = Not eligible.

YOU CAN VOTE NOW: For your favorite local production from the above list of plays. Listed in an approximate order of their production date from earliest to latest. Write the assigned number and or title of the play from this list that you most preferred in 2009.

Be sure to indicate your name and e-mail address if you want to be eligible to win a prize for participating. With the submission of your vote you will have a chance to win a great prize* (Selected by a draw January 1st, announced January 2nd, after 12pm). *A one year subscription membership (30$ value) as an individual member to QDF. One submission per e-mail address.

TO VOTE: Submit your vote through this blog by leaving your nomination in the comments; or e-mail your vote to info@villagescene.com

CONFIDENTIALITY: All personal information received, including your vote, are all retained with the strictest level of confidentiallity.

VOTE DEADLINE: All submissions to vote for your favorite play must be received no later than Thursday, December 31st @ midnight.

My Christmas In New York, some egg, plenty of nog.

Every Christmas hundreds of Québecois flock to Manhattan to sell Christmas Trees. Adam Manduski, a fledgling poet, did exactly this with a complete stranger, Charlot Corbeil, in 2007. They immediately realized a methadone clinic nearby caused an endless stream of junkies and thieves to pass by there stand. What followed next can only be described as a Christmas anti-miracle, a junky jaunt, a methadone ballet, a Fraser fir fairy tale, from knife fights to precious jazz, they learned a lot about themselves, and craziest of all is the fact that it’s all true. Based on the experimental literary journal My Duane Reade Cloister by Alain Mercieca, this Christmas play is for all the real poets.

This production is truly a mixed bag from Santa. A potpourri of: English and French dialogue, some improve, some scripted- text, some poetry, some humour, some drama, some intellect, and a lot of heart felt great performances from the talented cast. It is less of a play however, and is more of an over-extended 'sketchy' improve on an SNL holiday season special. It features a parade of 'questionable' yet 'captivating' characters from all walks of life; some of whom will either warm the cockles of your tender little hearts (especially those that are two sizes too small) or freeze your x-mass balls off. The central character, that of gritty New York City, the city that literally never sleeps, is captured to the extent that the sights and sounds are palpable. The stage-space set up is changed, the set design is adequate, and the costuming and the props are all utilized to help create an atmosphere that transports the audience to the world of the volatile Big Apple.

The sound was at times a bit wacky, either too low or too loud, as was the microphone. Some music queues were also rough and sporadically dispersed. The premise of the story is solid, where the production falls short is in the transitions that are too rough and unpolished. What is needed is some 'fiction' interspersed with the 'non-fiction' to smooth out the storytelling 'poetic' segments and a little more scripted text and less improv to turn this into a full play. -That and a workshop with a dramaturge, and then hand it over to a qualified director to re-mount.

Featuring: TJ Harris, Sandi Armstrong, Simon Chavarie, Jacqueline Sawatsky, Joe McLean, Maité Sinave, Catherine Moreau, Vincent Dow, Dayv Luciak, and Alain Mercieca, Production Design: Marie-Josée Houle. Lights & Sound: Dayv Luciak.

My Christmas In New York is presented by le nouveau international. December 9th to 19th at 8pm. @ Nouveau Théâtre Sainte-Catherine Information 514-284-3939 or lenouveauinternational@gmail.com

WILKOMMEN TO THE CABARET @ Monument Nat'l.

The 2009-2010 season of public performances of the NTS graduating class is an excellent opportunity to catch future artists of the Canadian stage in action just before the beginning of their professional careers. Graduating actors, playwrights, directors, designers and production personnel work year round with professional guest directors to present a varied season that will hone the skills and talents of these new artists.

The 2010 English graduating class of the National Theatre School of Canada (NTS) presents the second production of its 2009-2010 season. Cabaret, directed by Jillian Keiley, Ludger-Duvernay Theatre of the Monument National, 1182 St. Laurent Boulevard, 8pm December 8 - 12, 2009.

One of the most beloved musicals of our time, the original 1966 Broadway production of Cabaret won eight Tony awards of the ten for which it was nominated. Seven years later, Bob Fosse's film adaptation repeated that feat with Oscars at the Academy Awards. Cabaret was revived on Broadway in 1987, then again in 1998, each time garnering more awards, more critical acclaim and greater audience devotion.

Based on John Van Druten's 1951 play I Am a Camera, which in turn was adapted from the novel Goodbye to Berlin by Christopher Isherwood, Cabaret depicts nightlife at the seedy Kit Kat Klub and revolves around the relationship between 19-year-old English cabaret performer Sally Bowles and Cliff Bradshaw, a young American writer new to Berlin. Their story unfolds against the backdrop of the social upheavals afoot in Germany at the time, the tragic consequences of which audiences are all too aware — unlike the characters they are watching.

About This Production: What A Difference A Decade Makes: Director Jillian Keiley sees Cabaret very differently.

That audience omniscience has always disturbed director Jillian Keiley. "I love this play," she said, "but I’ve always thought it engages the intellect more than the heart, and I think that’s because of the way it has been staged; in every production I’ve ever seen, the audience has that superior vantage point." Her solution to this was simple: set the action a decade later. It’s not 1931, it’s 1941. The Nazis aren’t beginning to gain a following; they’ve been in power for eight years, which makes everyone who worked at the Kit Kat Klub a fugitive from the law. When the Emcee sings the opening number, "Wilkommen," he sings it as an invitation to all the dissidents, deviants and demimondaines of his cabaret to come out of hiding and reunite in song and dance and safety in numbers. Once everyone has gathered in the bombed ruin that used to be their nightclub, the story they agree to perform, to entertain each other, is that of Sally and Cliff.

Keiley promises, despite this radical shift in perspective, to stay true to the text, not a word of which has been altered. As such, Sally Bowles, who never left Germany, is one of the fugitives at large, and plays herself. "The actors create everything," Keiley explains. "Instead of a series of scenes interspersed with cabaret numbers, what audiences witness is performers ‘improvising’ the story they tell each other, but in this production, they DO know how it all ends." That, Keiley believes, ups the poignancy of the story for the audience: "They’ll leave with more than just a sense of historical inevitability."

The production has a great multipurpose stage design that is very functional and well utilized to the hilt by all characters. Costumes and set are also very well designed and multipurpose. A very creative use of the space, which is in the 'big' stage at the Monument. Lighting at times was not clearly illuminating faces however, therefore loosing some expression. For some, but not all, of the play it was difficult to hear some of the dialogue which is surprising since the performers are wearing microphones; This was particularly evident with some of the songs especially those sung during act one.

Of course placing ten performers into the main roles and chorus of a play with an ensemble that is usually produced with double that quantity is always a challenge. Added to that challenge is having to fill those roles with only the students in the class. For the better part these balance out quite well, however some roles cast are a little less convincing unable to surmount this unavoidable challenge. Since we are so familiar with many of the cherished characters, either having seen the production numerous times on stage or on screen in the Oscar winning film, it is challenging to overcome the typical type casting images we hold in our memories. Also, these are actors, not necessarily the triple threats (act, sing, dance) that would normally be up to fill these parts. However most of the songs essential to the play are well performed despite this additional challenge. The music played by the on stage band of actors was very enjoyable and it was very interesting to see how the accompaniment to the piano by many of the performers was cleverly integrated into the action with humor and precision. What was most lacking was in the realm of choreography, with only a minimal amount attempted. I would have like to see more attention to this element.

Where I had the most difficulty with this production of Cabaret was with the attempt to change the period in which the story takes place. In act one this was somewhat more transparent but as act two commenced it became clear that a time change didn't work. You can't change history, even when adapting a text, changing the time period of a story and not changing the text to match is difficult enough, but one can not do that and not directly effect the historical facts too. The Nazi's were in power in Germany, and the war was already in progress, with many countries already occupied by 1941. Much of the dialogue and references that apply to 1931 just do not work when applied ten years later.

CAST: Nathan Barrett, Simon Bracken, Brandon Crone, Leah Doz, Will Greenblatt, Chala Hunter, Ron Klappholz, Meilie Ng, Thomas Antony Olajide, Gia Sandhu.

DESIGN/PRODUCTION TEAM: Nancy Perrin (Set Design), Veronique Boileau (Costume Design), Kate Sandeson (Lighting Design); William Fallon (Sound Design); Kira Maros (Production Manager), Nicole Olson Grant-Suttie (Technical Director), Kai Yueh-Chen (Stage Manager). Photo: Leah Doz; credit Maxime Côté.

Tickets: $9. available at the Monument-National Box Office (1182, St. Laurent Blvd.). Call (514) 871-2224. (A $3.25 handling fee applies to tickets reserved by phone.)

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

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

IMAGE&NATION XX11,

October is LGBT History Month so it is fitting that IMAGE&NATION is holding their 22nd season October 22 to 01 November this year. Back at the familiar venues of: Imperial, Goethe-Institute, and de Seve this season features over 50 films in eleven days and nights. There are options from single tickets to multiple ticket passes for the avid movie goer.

I've seen some good films over the years but never have I seen so many consistently great films as this season. Here are a few coments on those that I've seen to date:

DREAM BOY; Coming out to yourself, boy love story with a sentimental twist. 3.5 chubbies.

REDWOODS; A beautifully photographed production, slow and steady moving story of love, fidelity and loyalty. A real twist ending that will bring a tear to your eye. 4.5 chubbies.

DARE; Originally presented as a short film that won awards, it has had an evolution and is now a full feature. Definitely should be seen by adolescents and is appealing for all. A cast of familiar faces who deliver quality performances. 5 chubbies.

OY VEY! MY SON IS GAY; Filled with star power, kitch and cliché, this is very funny take on coming out to the family. Reminisant of the Italiano culture shocker 'Mambo Italiano' this time fusing Italian with Jewish. 4.5 chubbies.

BEYOND GAY: The politics of Pride; This is why we still need and have pride events. If we don't continue to fight for the equal rights as citizens of the world, we could loose them. 4 chubbies.

EATING OUT #3: All you can eat; An appetizing guilty pleasure... -A high level camp farce that is well cast with great eye candy and performances. Hysterically laugh out loud fun! +5 chubbies.

Planning to take in a few more films this week: SHANK 3 chubbies; PORNOGRAPHY 4 chubbies. There are plenty of choices and numerous foreign language presentations scheduled. Go to image-nation.org for programming information.

Pillowman, will not put you to sleep peacefully...

The PILLOWMAN by Martin McDonagh, is the latest creation by director Frances Balenzano's Fallen Angle Productions (FAP). If you go to two plays this week, since I've already plugged 'Haunted', or if you've already seen that play and are wanting even more haunting suspenseful drama on stage then get on down to Theatre Ste-Catherine, now under new ownership btw, and check out 'The Pillowman'. This play was first presented in London UK in 2003, and then on Broadway USA in 2005. The company asks: "Are you prone to nightmares?" ... The Pillowman speaks to fears people incorrectly think they have long left behind. In this dark and twisted world, faint lines between reality and fiction force us to face the dangerous power of literature. The Pillowman resurfaces the significant point that in a good story one should never be able to tell what happens next.

Balenzano uses the space to the maximum in the staging of the play; this is made even more evident in the Intricate set and light design of Paul Chambers and Cara de Grandpré respectively. The cast of local talent, and FAP regulars, includes: Shawn Baichoo, Brad Carmichael, Tim Dimond, Rick Bel, and Cristina Vincent. All of the performances are very well 'executed', pardon the pun, (not to give anything away), but at times some do come across as rather one note making it difficult to relate to them or wanting make any connection. Shawn Baichoo's character (Tupolski) on the other hand stands out as having the most interesting journey in the story as well as the most clever lines and he delivers them with impeccable comedic timing as well as presenting us with an equally entertaining monologue. His interpretation of the character is flawless and he captivates our attention throughout, we never tier of him and he leaves us wanting more. When he's asked how he prepared for the role, he replies modestly giving all of the credit to the director. "When I first get the text I see it in my mind one way and question how it will turnout. But Frances has a very clear and creative vision... -she relates it back to the actor very precisely making it easier to interpret and translate back to the audience...."

It's no big secret that I'm a big fan of Balenzano's work, having seen all but one of FAP productions; 'Monster' still being my all time favorite, and she doesn't disappoint here by either bring unexpected special effects, by George Tucci, and plenty of delightful and memorable moments. Spoiler alert: (There is smoking during the play, something I'm not a fan of, but if you sit in the middle or to the rear of the space you won't be bothered by it). It'll be no surprise that I recommend this one, it is not a trick but a real treat, so this Halloween week you should all try to... GO C IT!

HAUNTED @ St-James Church

The Great Amherst Mystery” Brought to Life - World Premier -

DEATH: “…the undiscovered country from whose bourn no traveler returns”…or do they?

Presented by Rabbit In A Hat, HAUNTED is set in the small town of Amherst, Nova Scotia in 1879, nineteen-year-old Esther Cox hears voices and is the victim of threatening messages written on her bedroom wall after a strange encounter with her beau in the marshes one night. A simple and unassuming life spirals headlong into a macabre nightmare. With the medical experts baffled, the religious community helpless, and Esther imprisoned for crimes committed by the poltergeist, can her soul be saved? As extraordinary as it sounds, it’s all true!

If you see just one play this week, make it 'Haunted'. Perfectly 'spookylishous' for Halloween week. All of the performances are strong and entertaining; Catherine Bérubé's delivres a very powerful performance as Ester Cox and she's totally captivating on stage. Plenty of clever special effects, good use of the space, and some very interesting and informative history revealed in the text add to the enjoyment of the play. Walter Hubbell, the narrator/actor played by Paul Van Dyke, gets in some quick and clever repartee adding just the right measure of sarcastic wit to balance out the dark suspenseful drama in the story. The live music is very enjoyable and adds even more color to this dark priece. Like with much of Van Dyke's work, this play is born from research, the germinal idea "...to write a play based on different cultural interpretations of the afterlife." He then happened upon 'The Great Amherst Mystery' "... It is my hope that I have created a different version of the apparently true story of what happened to Esther Cox in 1879 Amherst N.S.".

Written & directed by Paul Van Dyke. An all-star cast and crew bring the bizarre tale to life, including: Catherine Bérubé, Alexandria Haber, Carlo Mestroni, Eric Davis, Kyle Gatehouse, and Paul Van Dyck.Crew includes: Jeremy Eliosoff FX computer generated graphics; Jody Burkholder lighting; Helen Rainbird costumes; Jesse Ash sound; Daniel Giverin music consultant, and playing violin; Trevor Smith on cello. Photo credit, Jeremy Bobrow.

BOO! GO C IT!
St. James United Church, 463 Ste-Catherine West; Entrance: 1440, St-Alexandre.
Runs October 21 - 31. Tickets $20. Box office: (514) 303 – 7646

Inherit The Wind at Segal Center to November 8.

Segal Center for the performing arts presents the Pulitzer Prize-nominated play...

Inherit The Wind

Play by Jerome Lawrence & Robert E. Lee. Directed by Greg Kramer.

A thrilling courtroom drama inspired by the famous ‘Scopes Monkey Trial’ of 1925 in Dayton, Tennessee where schoolteacher John Scopes was accused of violating a state law against teaching the theory of human evolution. Lawrence and Lee wrote Inherit the Wind during the 1950s when Senator McCarthy was on the rampage in the United States. The play is a metaphor for the importance of intellectual freedom and the dangers of restricting free speech. "A fight for the right to be wrong." The artistic director promises the production to leave a lasting impression on theatergoers, the actors having added a unique dimension and depth to the play, and that Elli Bunton’s imaginative set will strive to bring the audience into the action.

The production is well paced, and the play a perfect length to hold the interest of most (I found myself counting the empty seats in the audience '35' during act one), and it has an equally well placed intermission. As promised the cast do leave us with a lasting impression in that there are so many of them on stage coming and going from every direction, worst choice being when they are persistently sent up through the audience, it is distracting forcing the audience to play 'where's Waldo' to locate exactly where is the focus of the scene. It's narrowed down to the the performance of Sean McCann as the defense lawyer Henry Drummond who steals the show. Despite a few scattered dropped lines in act two, he definitely holds the interest of the audience in an otherwise very 'busy' staging of an extra large ensemble, he rallies the support of the crowd with his larger than life stage presence giving us a truly memorable performance. And in the supporting cast Tamara Brown as Rachel Brown, the colleague and love interest of Karl Graboshas's character Bertram Cathes, she delivers a strong performance and lights up the stage when she in on it. Which brings me to the question of why are there so few black actors cast in this production set in the heart of the deep south. And why is the obvious 'elephant in the room' question, the issue of an 'interracial relationship', never properly addressed in the play? Huh?!

There are a few questionable staging choices throughout the production for example like when Karl confronts Tamara in Act one, he looks out away from her and moves towards the audience. Also when the prosecutor questions her on the stand in act two. I would have gone with a more intimate moment of tension between the two characters in their confrontation in act one, and I would have preferred it if the prosecutor had delivered his questions from her right side, facing the jury members and not hiding her from their gaze. Again most distracting was the forced staging sending the characters across the stage on the audience first row floor or up into the audience to exit and enter. Sending the prosecutor up the long flight of stairs through the audience at the end was the least logical. The set is at first glance is very impressive, but then it becomes somewhat less relevant and even somewhat confusing at times making it difficult to define the space of the scene of where the actors are in the play, this is more evident in act one. Act two everything becomes much more clear and is more focused and easier to follow. The pacing on the epilogue is a bit stretched out and long winded and could have done with a bit of editing. The lighting, like the set design, although very 'pretty' in looks through most of the play, doesn't always do all it could to help to define space, and there were a few moments where the faces were not as lit as well as they should be. The music is a nice selection and an appreciated addition to the overall production.

Costume concept by Susana Vera and lighting by Robert Thomson. John Gilbert is the musical director. The play stars Sean McCann (as defense lawyer Henry Drummond) and David Francis (as prosecutor Matthew Harrison Brady). Also features a huge cast of 26 including: Tamara Brown (Rachel Brown, Bill Corday (Elijah), Bill Croft (Judge), Graham Cuthbertson (Tom Davenport), Holly Gauthier Frankel (Mrs. Blair), Karl Graboshas (Bertram Cathes), Marcel Jeannin (E.K. Hornbeck), Elan Kunin (Jesse Dunlop), Daniel Lillford (Mr. Meeker), Sean McCann (Henry Drummond), Leni Parker (Mrs. Brady), Glenn Roy (Storekeeper/Sillers).
Photo: Andrée Lanthier.

Overall the play remains very entertaining, humourous, intelligent, and thought provoking even today. GO C IT! October 18 to November 8, 2009.

Segal Centre for Performing Arts
5170 Côte Ste. Catherine Rd.
www.segalcenter.org

Theatre Panache presents...
Till We Meet Again

By David Langlois

Directed by Heather Markgraf Lowe...
“The play provides an important message of hope and understanding at a time when despair is again on the rise.”

Musical Direction by Marian Siminski

A wartime broadcast. Till We Meet Again revisits the days of WWII by recreating radio newscasts with song and dance numbers.

It is purely and simply delightful; A thoroughly enjoyable experience. A musical review worthy of your attention and support. A great way to escape and enjoy these timeless memorable classic songs. Even the most steadfast curmudgeon “I hate musical theatre!” advocate will enjoy this one. Before you can say ‘…and a one, and a two, and a three’ you’ll be humming and singing along with the charming cast who are persistently egging you on to join in. You’ll be surprised, as I was, at how many of the songs are familiar to the ear. Although the audience was filled with folks from the generation that originally heard these war time hits, and many baby boomers too, even a few of the ‘thirty-something’ audience knew some of them, probably having heard them played or sung by their parents and or grandparents or featured in films paying homage to this era in our history.

With 'Till We Meet Again' you will have the previlage of participating directly in what was the pre-television era of entertainment. A time when the audience were safe in the homes huddled around the radio after supper and actually listened in. The play is carefully mindful of the history of the period it covers (1939-1944) and is respectful to the memory of those who died and to those who survived, gently reminding us of the contribution that they made. You'll leave the theatre uplifted and in joyful good spirits, but you'll also leave the theatre reflecting on the sacrifice made by those who fought for our privileged freedoms that we still enjoy to this day.

October 16, 17, 18; & November 21, 22, 2009, 8pm.
www.tillwemeetagain.ca

Oscar Peterson Concert Hall
Concordia University's Loyola Campus
7141 Rue Sherbrooke Ouest