The fall season closes with Urban Tales @ Centaur

Well just when I thought it was over, the fall theatre season slides into the holiday season with Urban Tales @ Centaur. Presented in the the stark bare smaller performance space all the trimmings are left outside as the under garnished set consists of a simple riser and a carpet, occasionally we have a chair. On the upper level a guitar is plucked to some back ground music takes on familiar Christmas tunes.

The series of adult flavored short stories are well written and presented by the storytellers one-by one with transition music between each. Then there is an intermission. And then more stories. I liked all of the 'tales' some of which are translations from French originals and all are set in Montreal during the 'holiday season'. The performers do a very good job of presenting, admittedly a few stronger than others, but overall good quality.

Where this highly publicized yet very poorly attended (There was -25 in the audience the Saturday evening I attended.) production falls short is on ambiance. The space begs for some decorations and the venue for some holiday season cheer. One has the feeling that we are visiting a funeral parlor to pay our last respects to an acquaintance or neighbor who has met with an unfortunate and ill timed yet expected demise. In the effort to not leave out any of the 'Faiths' or to offend anyone, they (the religions) are all pretty much left out begging the question, what's the point?

Place the same production in a cabaret setting, with some seasonal decorations, a few carolers, maybe a small band, and a bar, with a maximum $10. fee at the door and a donation of a non-perishable item for a local charity and this would be a much more appropriate (and price marketed) setting. One can only imagine the budget allocated to such a production; the promotional budget alone based on the print ads I've seen could fund an entire mount for an independent company. Maybe it's the Scrooge in me or just the B***h, however 'fabulous' coming OUT. Happy F***ing holidays! (Fabuing)?!

DON'T drink & drive!

See you in the New Year!

La Bella Luna or a 'bad moon rising'?

Written & directed by Patrick de Moss, La Bella Luna is a very long play in serious need of an edit...to cut down the 2:30 running time down to 1:30. And the intermission of and extra +15 minutes, is it really - necessary? The over indulgent miss-use of pop rock lyrics only serves to drag the scenes down and becomes tedious and gets very old very fast.

Transitions are far too many and very poorly coordinated...
The blocking lacks logic and efficiency.

The production begs for direction to clean it up.

Dawn Ford - Laura/Ash is equally excellent in her interpretation of both roles and delivers an overall standout performance among this ensemble.

Jonathan Marquis - Jack/Jean is very entertaining and utterly delicious in his portrayal of Jean, however he falls considerably short as Jack with a lack of focus and development.

Even good actors can still deliver good performances; There are some great yet sporadic moments to be savoured here but the overall production is too ambitious for even this large ensemble cast to maintain and hold together.

Even if this was a film about to be released on DvD, I would have to advise - Skip It!

The Importance of Being Earnest @ McGill's Moyse Hall

One of my personal all time favorite plays, Oscar Wilde's "The Importance of Being Earnest" is playing at the beautiful Moyse Hall, McGill University to November 29. Performances start at 7:30pm so plan to arrive early for the long walk up McGill College and the campus path to the Arts Bldg. 853 Sherbrooke St. W. Reservations and information www. mcgill.ca/moyse And the ticket price is very affordable in these troubled economic times.

The performance space is perfect for this late 19th century period piece, and all seats are good viewing. There are 2 intermissions so it does run a bit long for the short 3 act play. Written with 4 acts it was cut down to 3 when it was originally presented to the public and this is the more popular version, although the 2002 film with Rupert Everett and Colin Firth followed the 4 act format. However, even with the two breaks, time flies by with the quick reparté, rapid delivery, and quick pacing of the production.

The costumes are a delight and the set and lighting design are adequate for the production. With the exception of one miss-cast lead role the actors are overall well cast and suited to their roles. Performances of note are delivered by Elana Dunkelmen as the feisty Lady Bracknell and Jessica B. Hill as a saucy Gwendolen Fairfax. It is Brian Beckett who lands a bullseye with his interpretation of Algernon Moncrieff. Beckett's unique expression, use of physicality, and impeccable comedic timing make him a perfect fit for this otherwise miss-fit character, and he delivers a performance worthy of MECCA award recognition.

Faults with the production, apart from the 2 intermissions; 1 could have easily been sufficient by cutting out the 1st one; The back drop curtain could have been kept down through act 1, keeping the sitting room more intimate, and thereby allowing for the garden scenery for act 2 preset behind it. The set in act 1 was too spread out S.L. across to S.R. Apartments in London in this period were very close quarters, small and intimate. The characters are spread too thinly across the stage making it more difficult for their interaction and for the audience to follow the conversation. The biggest flaw is the miss-casting of the character John Worthing aka Ernest, in the title lead role. A faulty performance in so many ways: physical stance and basic posture, vocal projection, accent, visibly searching for the lines, and a lack of overall charisma and chemistry with the fellow actors, he came across as if he wished he could be anywhere else but in this moment. Not sure if it is a directors' error or due to a lack of appropriate talent to pull out of the pool, this is one big mistake.

However, Dee Arr still says Go See It!

Othello @ McCord Museum to Nov. 29.

Created in 2000 Persephone Productions mandate is to provide a quality work experience to young theatre artists. For example, in this production of William Shakespeare's Othello, up-and-coming fashion designer Raina-Clair Gillis gives the costumes her stylized flair, and James Keenan Campbell a first-year McGill student contributes an original music score. Unfortunately this is where most of the ‘quality’ of ‘the experience’ ends for these young artists in this production of the Bard’s classic play of deception and revenge.

To quote Brett Hooton in his preview of this production in the Hour: “With so much budding talent, the production exudes the reckless abandon of youth. If it works, the old play will roar once again. If not, well, mark it down as a learning experience for a cast and crew with bright futures.” The result is…no it does not work. The article in the Hour gives a prelude to the arrogance of the production demonstrated through the Q & A with the production’s lead.

Indeed the costumes are the best part of the Production. However they are lost as the play is staged without decoration and is miss-placed in a space that lends itself to a room with all the ambiance and charm of an unfinished laundry room in an apartment house basement. A difficult enough venue to creatively light, it is either too bright or too dim. A black backdrop curtain set against the cold cement walls contribute nothing to the production that is in much need of some warmth to add to the depth and spirit of the play. The performers are also in serious need of a movement Coach to improve on their body language, with poor posture and dangling arms with no finesse, the actors are lacking in some very basic direction. There is a great very realistic sword-fighting scene in act one and the well-choreographed sequences of Phil Demers continue into act two adding some lively visuals.

There is something obviously amiss with the direction when the reactions of the supporting cast upstage the lead actors delivering their text. The leading roles are lost here on two actors that have absolutely no chemistry. The performance of the character Othello is lack luster and inconsistent, and the mundane portrayal of Desdemona is gravely uncommitted. Both are miss cast and they’re delivery makes for a poor portrayal of these two literary icons. Matthew Raudsepp is a stand out with his interpretation of Cassio. His matinee idle looks and physical presence place him convincingly well in this swashbuckler role. Look to see him in future productions of this genre that is if the call to the big screen doesn’t nab him up first. The most noteworthy performance however is delivered by Christopher Moore as Iago, who is the real star of the production, delivering a stellar performance amongst the otherwise all too static to too ecstatic performances presented by the rest of cast. Moore has all the package of natural talent and stage presence. He is engaging with the charisma required to carry the character through the heavily worded material and endear him to the audience with his conniving yet charming disposition from the moment he first steps on the stage. However, the weight of getting the play through act two is too heavy for even his talented shoulders to carry resulting in the production falling dramatically short of achieving its’ goals.

Ultimately, the production's utter lack of success rests in its’ overall inability to prove to the audience that a 400-year-old play can offer insight into our own current daily lives. The production comes across as a mid-term graduate class studio presentation, not up to par with the company’s mandate, and is overall a tragically missed opportunity to revive this play.

Presented by Persephone Productions, directed by Gabrielle Soskin. @ the McCord Museum until November 29th.
Reservations & info. @ 514 398-7100 #234

Theatre for the 21st century soars to new hights @ Centaur with SKYDIVE...

Centaur delivers an early Christmas present to Montreal theatre fans as SKYDIVE soars onto the stage this week. A RealWheels production (Vancouver), directed by: Roy Surette and Stephen Drover, with Bob Frazer & James Sanders. The principle reason I gravitated to the theatre industry, as my third career, was the that the process of collaboration equals (=) theatre. This production exemplifies this equation.

There is nothing to criticize and nothing but praise to be given to this theatre production for the 21st century. Ninety-five minutes of pure visual joy added to a very clever use of space with exceptional lighting and sound, detailed blocking, and a catchy musical sound track. The original funny text with a message of hope daring us to 'stand-up' and face our fears head-on and overcome the obstacles in our live's. SKYDIVE also takes the genre of stand-up comedy to new hights and acting to a new (infinit) dimension.

One thing for sure is there will be a lot of folks going home asking where Mom stored all of their childhood memorabilia. Boxes and crates in the basements and attics of our parents' homes may get raided and the moth balls tossed this holiday season.  With a flash back to the late 70's and 80's through references to t.v. and music, the characters bring us on a familiar and amusing tour down memory lane of that decade.

Although it may be tempting to bring the kids to see this play, I do recommend it only for ages 14+. But it is a great 'turn-on' to those who may be 'nay sayers' to theatre as an entertainment medium...so if you can drag the teens and the dads and B.F's. away from the 'boob' tube and the Play-Stations, this Is the production that might make theatre goers out of them.

Playing to December 7th. I anticipate an extended run but don't wait, as the production leaves on tour in 2009, even if you have to drop in by parachute... Go C IT! 514 288-3161

Dulcinea’s Lament is an awe-inspiring refreshing risky surprise!

Impeccably directed from start to finish by Alice Ronfard. A not to be missed production with Dulcinea Langfelder presented by Dulcinea Langfelder & Co. @ D.B. Clarke on a limited run until Nov. 19. You know you’ve sat down to something really special when you can feel the muscles
in your face straining from the permanent smile created by the shear
enjoyment of what you are watching.

Inspired by Don Quixte’s muse, she will take on Cervantes’ absent heroine. She will use her namesake to express her vision of the world, religion attitudes, language, love, and history. Even if you are unfamiliar with Don Quixote you will be truly inspired by the message of hope.

With something for everyone this principally one women show, supported by four multi-talented performers, has movement, spoken work, puppetry, live music...both vocal and instrumental, and dance, all surrounded by a spectacle of video projection of claymation, animation and special effects, that literally moves with the story re-defining a multi-media theatrical production experience.

This golden age artist is more feisty, and demonstrates more spirit, than someone one-half the age; she is so acutely in-touch with the medium and her audience. There are moments in this renaissance performance when there is more going on than the senses and mind can even absorb.

Dulcinea’s Lament is pure joy with a very well merited standing ‘O’ that follows the applause that starts up even before the performance has concluded. Dee Arr says to absolutely GO C IT!

Res: 848-2424 ext # 4742

Three sons mercilessly air their dirty laundry Down Dangerous Passes Road at La Chapelle.

Talisman Theater presents at La Chapelle until November 15th. the English translation (Linda Gaboriau) of Michel Marc Bouchard's play Down Dangerous Passes Road.

Three (3) brothers take a quick drive to Dangerous Passes Road hours prior to the kid brother's wedding. Trapped in an eternal moment of deja-vu and struggling to get out of an emotional vortex, the three are forced to confront the memory of the death of their father fifteen years earlier. Dealing with mortality is an incredibly emotional experience; the use of language, imagery, physicality and poetry delivered throughout the play is raw forcing the audience to live through this experience with them. The contrast between the beauty of the environment and the harsh realities of life and death add a human voice to the struggle for closure and immortality. The Play highlights the relationships that shape our lives and make up who each of us eventually become.

Three (3) powerhouse performances are delivered by: Marcelo Arroyo (Ambrose, Patrick Costello (Carl), and Graham Cuthbertson (Victor)... This a powerful text and character driven production, no need for any tricks or treats hear. Not having ever had any siblings myself I am always fascinated by the push-pull relationships in family units. (We can choose our friends but not our family.) The Play deals with perception, unspoken truths and invisible acts and gestures of love and their potential misinterpretation ... how we can often be too cruel and how easy it is to be unkind to those whom we love and those who love us in return; all the while reminding us of how fragile and short life can be reminding us to live in and for every moment, relishing life, valuing those in surrounding us in our lives, and not putting off to tomorrow what should be said today.

Set and lights and visuals are all adequate as is the use of space. The text and performances stand strongly on their own. The picky pen would have gone with less of a backdrop decor and added a tree stump and a log or two instead.

Go see it!