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.

Dangerous Directions with Dangerous Liaisons

Dangerous Liaisons
Saturday, September 13, 2008, 8:30pm performance.

Dangerous Liaisons a Christopher Hampton play adapted from the novel by Pierre Choderlos de Laclos from the 18th-century, now playing at the Segal Centre for Performing Arts at the Saidye.

I’ve seen the award-winning film many times since it first came out 20 years ago starring and just saw for the umpteenth time Cruel Intentions a more ‘modern take’ on the same themes of deceit versus trust and unrequited love connections. I was pumped up to see this classic tale on stage as a piece promoted as ‘First Class’ theatre.

I was prepared for the long drawn out story to unfold and anxiously awaited for a detailed tribute to the English language to be delivered by the actors. The play gets right to the point very quickly as we learn about the lead characters being portrayed in a rapid run down of who is doing who, where, when and why…

The first alarm goes off immediately as we try to figure out when the story is taking place due to the ambiguity of the period presented… Never mind “What time is it?” or What year is it? but What Century is it? With the wide array of accents used by the actors that range from some sort of Québecois French, to fake British and Eastern European, we’re not sure where these folks hail from. We know we’re in France because of the geographic references made from the text. Then there are the contrasting costumes the women wear, from over the top high fashion accents to a very bland frocks, to the extreme opposite futuristic chrome cheek worn by the men, we get no clue as to the period. All this mélange with copious amounts of antique furniture strewn about and piled in a heap at the side of the stage reminisant of the barricade in Les Miss only adds to the distraction and confusion on stage.

The Director has camouflaged the purity of the text with so many accents in the blocking, attempting to be even more clever with each addition than his last trick throughout the Play. This is evidenced by the use of the absurdist choreography and camp humor with props like dildos popping out of one actors underwear, extra large of course, all the while trying to be sexy and sensual yet never committing and actually following through. It could have been a women’s breast, or a rear view, or the full-monty, the characters are never truly 'revealed', nothing but a facade of sensuality portraying sexuality as if it were served up in one of the fake wine glasses used on stage. So much time and energy is spent not going there, either for modesty sake, or is it due to the budget constraints of casting less experience actors that prevents them from going all the way... (One ensemble actor even hesitates and stops dressing the lead when he approaches the groin area while pulling on some stockings.) The overall complete lack of chemistry between the actors leaves us questioning the true sexual orientations of the characters.

Then what is with the never-ending piece of sheet fabric that the actors don’t seem to be able to get away from without using it in some elaborate and ‘representative’ fashion? It contributes to lengthening the two and half hour running time and it serves to distract and frustrate the audience as well as the even the actors. The great text continues to play second fiddle to all the props, and action, along with an annoying background sound track that makes for a very messy second act.

Brett Christopher, delivers his abundant text with good diction, enunciation, elocution, and projection, however this is where the focus of his performance remains as he is so busy keeping busy with too much action blocked in that it is extremely distracting, and does not allow for any real emotion to come through in the delivery of the text. What could have been, often comes across as trite and unfeeling. We can almost feel his frustration, however misplaced in act two, not as a character portrayal but as an actor anxiously trying to get to the end of the play.

However Yannick Larivée's mirrored-ballroom stage design is very inspiring and put to good use throughout, and the lighting by Spike Lynn is also great. It is the least we should expect
from these ‘First Class’ productions.

There are a couple of performances in secondary roles worth noting. Moira Wylie, as Madame de Rosemonde, aunt of Valmont, who is entertaining to watch; And although she has no lines, ensemble actress Kristina Sandev, really gets into the moment either as a maid or as a seductress doing everything she can physically to help the story along. Finally, Tara Nicodemo, as Madame de Volanges, is well cast in her role. On the other hand the least enjoyable most miss-directed performances are those portrayed by Gemma James-Smith who plays Cécile de Volanges as a dimwitted ‘virgin/slut’ and Jake Epstein the Le Chevalier Danceny as a nerd/stud. Both come across as complete numskulls, I want to say idiots but that insults the idiots who have feelings too, and it is painfully obvious that these two characters are being portrayed as having none.

If you don’t know the plot then opt out to either read the book or rent the movie; You’ll be better off with either choice. Seeing this production is not the best option to discover this great story if it is going to be your first introduction to it.

Playing at Segal Center
5170 ch. de la Côte Ste Catherine
September 7 to 28, 2008
www.segalcentre.org 514 739-7944

Fringe #18 My 2 cents...are they worth 5 cents?

Is it that time of year again already... festival season in Montreal is already well underway and that means that there is probably so much to Fringe and so little time. In year #18 I'm committing to see eighteen productions (at least). (Updated Monday, June 23rd 2am) So now (21) productions in my coin purse:

Go CIT! I decided to put in my two (2) cents ... and combined with the Franco expression "it isn't worth five (5) cents" as the rating system that will be represented by 'cents' 1 through 5...The more 'cents' the better the recommendation. Make sense? 5 cents = Exceptional! 4 cents = Excellent, Go CIT!! 3 cents = very good CIT!. 2 cents = good, CIT. 1 cent = fair, maybe skip it. No cents = avoid at all costs!

"DISHPIG"  = 5 cents. Co-created by T.J. Dawe & Performed by Greg Landucci. My early pick of the Montreal Fringe. Go CIT! I would see it again. Leave the kids at home with the sitter! (Congrats on the nod from the Centaur.) My early 'pick of the Fringe' that survived all 21 productions that I visited.

"Shavirez, le tsigane des mers" = 5 cents. Unfortunately there are no more performances at the Fringe :-( I'd CIT again! This was truely a treat for the eyes and ears. No dull moments and brilliantly 'executed' (pun intended) by the cast. A Play 'for all' and all for one. If it ever gets a remount; Go CIT! (Congrats on the win from Chapters.)

"The Particulars" = 4 cents. Brilliantly directed by Patrick Lundeen! Performed by Alex Furber, very enjoyable to watch, and who looks a lot like a cross between Tom Welland (Young Superman) from Smallville and the character Berger from Sex and the City. Good writting by Matthew Mackenzie and cleverly delivered. Go CIT! (Congrats on the nod form the Centaur.)

"Cody Rivers Show" = 4 cents. Utterly enjoyable to watch these two hamming it up in quality camp style. Go CIT! (Congrats on the JFL win; I guess if you missed it you will get to CIT.)

"Cobra II Cobra Christ Superstar" = 4 cents. I'm not a big fan of cartoons, nor do I pretend to know anything of the background material, I saw part 'I' liked it and still enjoted 'it' (Part II) and that's all the more reason to ... Go CIT!

"The Sputniks" = 4 cents. Elison Zasko in collaboration with Jonno Katz is a spell binding solo performance from start to finish. The one hour mid-night performance zipped by with the very touching and elequent story. One flaw in the seamless direction was 'watch for your light' a cardinal rule in theatre performance, stear away from 'right of center' (pun intended) and more 'center' and 'left of center' and you'll be A-okay. One chance left to catch the Sputniks Sunday at 16:15. Go CIT!

"See How They Run" = 4 cents. An unexpected 'girl power' play. Great chemistry in the ensemble with equally strong, refreshing acting, and seamless direction from Liz Valdez in her distinctive influencing style. Go CIT!

"Throwing Gnomes" = 3 cents. Not a huge dance fan, this piece caught my eye at the F4A and I am glad I got to see it. Very original and entertaining; full of energy at the beginning, some levels seemed to falter as the ambitious piece progressed. Could have had an extra cent if it been a few (8) minutes shorter. CIT!

"Totem Figures - TJ Dawe" = 3 cents. For those who appreciate TJ's famous story telling stylized elaborate monologues this is a treat at almost 90min. If this is your first time I fear some may wonder what is it all about. This piece comes across almost like a 'farewell tour' (hopefully not) in that it is really deeply personal for TJ. Almost scary in that it could seem potentially self absorbed 'all about me' more so than his usual comical style. This piece requires being very awake and focused so a very late show is not a good idea, or if your are coming directly from the beer tent. A double latté will help you keep up to TJ's speedy delivery. My only complaint is that he stands virtually stationary (already a tall west coast guy) on the already high rise TSC stage throughout. This removes him from the 1-on-1 feeling that the story telling genre requires; add to that the large microphone held to a 45 degree angle in the right hand, only helps to depersonalize his natural smooth warm style.Go CIT!

"Peg Ass Us" Pack Of Others = 3 cents.  Okay I can wrap this production into one sentence..."An instructional presentation on how females can pleasure their men through penetration." However, they: John Leo & Sophie Nimmannit, manage to entertain us for a full hour, so I recommend it in the end. 'Get it?' Go CIT!

"This Hour Has 88 Years" Quint Productions = 3 cents. A very ambitious production. Maybe for a first time out, 58 years would have made for a more successful and tighter result. However, what is lost in the direction and lack of concern for a technically tight production and some noticably weaker than others performances, is made up for with some very powerful homages to history through dance and music, originality, and the energy and drive of the overall performances. The music/sound selections and quotes need some serious editing and quality improvement. But Go CIT! (Congrats on the nod from the Centaur.)

"Blast Back Babyzap" Uncalled For = 3 cents. A very well round and polished set of skits from beginning to end. Will win over even the most ardent skeptic. Go CIT! (Congrats on the win from JFL.)

"Barbie World" Scream Dance = 3 cents. Great moves. Go CIT!

"See Bob Run" = 3 cents. Very well performed. Great script. Only the constant black outs and dim lighting needed revision. Go CIT!

"Degrassi The Musical" = 3 cents. Not quit as enamored as the other buzz noted by the critics; the piece is too short in some respects, particularly in regards to the story line, and at times the 'singers' are drowned out by a sound track playing too loud. But avid fans of the 'show' will no doubt enjoy all the camp retro. CIT!

"Lard" Big Moves = 2 cents. Plenty of big dance numbers. Everyone seems to be getting their fill. At 90min the production could use some trimming and improvement on pacing and transitions. CIT!

"Apnée" Équipe de création = 2 cents. Natalie Baroud creation and direction. Performed by Jacqueline Van de Geer. A non-dance multi-media interpretive movement piece. Brilliant and intreaging performance by Van de Geer who holds her own against the 'upstaging' of the video medium. CIT!

"Beth" Zero-Sum Games = 2 cents. Interesting and sharply dramatic performance by Fringe vet Angela Potvin of this 'Scottish play' inspired production, which is unfortunately held down by the lack of direction and supporting cast. CIT!

"Argument with a Dolphin" Without Annette = 1 cent. Maybe it was an off night, but still no excuse when your touted as 'masters of improve'?! A very un even distribution and unoriginal delivery leaving us ready to argue for more than what the talent offered up.

"The Dragpiper" Dragpiper Productions = 1 cent. Take away the tassled tits, the highland dancers, the piping in drag, strip away the superfluous amount of copious cast and then re-cast a strong talented lead 'actor' and get a director who specializes in developing solo performances; then the playwright can go back to the pen and paper and rewrite the actually story...there is one here but it is unfortunately camouflaged and got buried in fluff.
(Congrats on the MainLine win from Jeremy. If anyone can pull this story together he will, even if he has to reach up under your kilt to do so. Looking forward to seeing the revised remount.)

"Transendental Masterbation" Glen Callendar = No cents. Literally! This apparently 1:30 production cut down to 1:00 is 0:30 minutes too long. What won us over in the first half was lost on us in the second.

Well another Fringe has gone by. I made my deadlines and exceeded my goal of reviewing 18 productions. It has been a slice folks! Next year 19+ ? TBA! Now for 'all that Jazz!'

Fringe For All with my eye on the ball...

Normally the Fringe For All (F4A) for a threatrephil is like falling into a giant pile of 'blow' for a crack head. More Fringe than you can handle in two and half hours. This season's edition was a well paced, well hosted and well attended F4A filled with delectable tidbits of drama, comedy, and plenty of dance...

Remarkably, although the Fringe usually has a more 'anglo' appeal with the majority of its' productions in English, it was the local Franco productions that stood out among the vast array of talent. Here are some of the standouts that I noted as must and maybe sees...

En francais:

Mademoiselle Lafleur - Théâtre du BuildinG  Oui
Belzébrute - Shavirez, le tsigane des mers   Oui
Les Filles-Canon - Les Dames                     Peut être
CoCu Clan - La Troupe du Scélofanne          Peut être
Apnée - Natalie Baroud                             Oui
Ggagné - Lancer du nain                           Oui
Spectacle pour emporter - Les Néos            Oui
Le musée des vieux animaux québecois       Oui

English:

Dishpig - Chipped Paint Productions            CIT
This Hour Has 88 Years - Quint Productions CIT
Lard (Like Grease, but Thicker) - Big Moves MAYB
Argument with a Dolphin - Without Annette CIT
Beth - Zero Sum Fears                            CIT
Barbie World - Scream Dance Company     MAYB
The Particulars - Syd Trinity                     CIT
Blastback Babyzap - Uncalled For              CIT
Teaching Fringe - Doctor Keir                   CIT

If you have to ask what CIT stands for then maybe this isn't 4U.
Stay tuned for next weeks review of the 1st weekend of Fringe.