A Monologue on the Future of Canadian Theatre

Last week, Martin Julien (at the UofT Centre for Drama) organized a "redux" of the 1973 conversation on the state of Canadian theatre, which followed fairly closely on the "crisis" identified by the Canadian theatres of the late 60s and early 70s, in which it was determined that a major fix was required to create a truly Canadian theatre. These events, of course, are the things we teach in Canadian Drama courses at universities across the country. The Farm Show, Leaving Home, The Ecstasy of Rita Joe; all those great Canadian plays that helped to define us, while companies like the Tarragon, Theatre Passe Muraille, Prairie Theatre Exchange, and more grew from little fringe companies to national creative cultural forces. This period saw the creation of the Arts Council System, providing some serious funding for theatre which previously had been scant. And to some extent, the 1973 conversation, while it identifies continued challenges, has a feeling of "job well done".

(you can view most of that 1973 discussion here: https://vimeo.com/88594280 )

Fast forward to 2015: How much has changed?

Interestingly, a quote from the first conversation strikes me as perfectly descriptive of the current situation; that "there is something wrong with a theatre that has been around for awhile and hasn't grown in any particular direction." Now this sounds horribly reductionist, but in many ways, it is true. Look at what is programmed. Where are the experiments, the gutsy new forms and new theatrical languages that help grow and engage an audience? Where are the directors, playwrights, and to some extent even actors under 35? Does the arts council system still fund in a way that promotes the continued growth of the Canadian theatrical voice, or does it reinforce that which already happens, with the emphasis on "community building." The conversation in 2015, while it raised some valuable points, I felt focused too heavily on how we make money. Yes, we need money to make theatre. But not as much as we might think -- some of the most exciting choices and creative solutions come out of an absence, and this is a challenge we need to take up with vigour, rather than whinge about. There is a certain conflict in the young theatre makers I see today (perhaps myself included). We rail at the system that we work doggedly to break in to, with an odd sense of entitlement to get funding, and yet we shy away from doing the very kind of work that got those now well-established theatre makers noticed in the first place. Paul Thompson, TPM's first AD and artistic leader of The Farm Show creation said it best during the 2015 discussion, and in many ways echoed what he said in 1973; don't worry about the system, make work. Make work with urgency and vividness, and scrape together. Make work outside the rules. Ask for forgiveness rather than permission.

Don't wait for someone else to validate your work. Write it, perform it, create it. If it is well done, someone will notice. If they don't, just get louder.

Now it may sound a little idyllic, but that's the theatre I want for Canada over the next 40 years. Theatre that breaks the rules, makes its own voice, and figures out the details afterward. This is what the theatre makers we study now did. If we want to make a mark, we need to do the same, or else we risk becoming a part of what Jordan Tannahill controversially (but somewhat truthfully) labeled as "boring".

popART: Intersection at Nuit Blanche

As many of you know, I've been doing some more experimental work, which this summer has taken the form of my popART series of immersive installations. Earlier this year saw part one take place in a darkened alley during Winnipeg Fringe and featuring the work of Pixel Pusher and John Norman. For the second installation in the series, I have partnered with Ali Khan and jaymez to create a space we call Intersection.

Intersection: Images on unfamiliar surfaces. Sounds in unfamiliar spaces created on unfamiliar instruments. A familiar yet unfamiliar space. Join us for the second in Kendra Jones’ popART series of curated installations merging music, video, and performance with music created live by Ali Khan, and multi-surface video projection by jaymez.

The installation will be at the intersection of Graham and Edmonton, in the outdoor plaza in front of the Royal Winnipeg Ballet building at 380 Graham Avenue. Combining the live electronic music creation of Ali Khan with the live video mapped projections from jaymez we will envelope the angular and hard-edged architecture of the space with light and sound that is continually being created and changing. You can come for a short while, for a longer period, or come and go, and the intersection of the space, the music, and the projections will enhance and elevate each of the individual components.

Come check us out from 9pm on Nuit Blanche. And tell your friends!

With all of these installation projects, one of my main goals is to re-define expectations for our interaction with art and theatre, and to challenge us to notice the inherent theatricality of events and spaces we pass by daily.

Also, this will be one of my last projects in the 'Peg for awhile. . . so it would be fantastic to have your support.

popART: Intersection is an official "Illuminate the Night" selection for Nuit Blanche Winnipeg and Culture Days Manitoba.

Private Lives by Noël Coward @ Royal MTC

The flagship of this year's CowardFest celebrations was Royal MTC's glittering production of Private Lives, Coward's spicy tale of love and marriage. Krista Jackson, assisted by Rodrigo Beilfuss, directs a visually sumptuous production, each moment filled with beautiful physical work from the company.  All 4 performers handle the dry wit and clipped society accents with aplomb. Eric Blais, however stands out, looking and sounding completely at ease within the period. Another particular stand-out was Jane Testar, as the grumpy cold-ridden French maid in the third act, who brings a whimsy to the play. 

The production moves along nicely, and featured the singing talents of the two female leads favourably. What is, on the surface, a frothy bit of fun, bubbles beneath with a sinister tone, particularly in Amanda & Elyot's fights, hilariously staged, as they run around, smashing one another with gramophone records. Laura Olafson's Amanda is in no way the frail woman; what might have come across as misogyny is instead two equals warring with one another. 

That said, the relationships feel dated in this play, and it is difficult to make these feel anything but a caricature to a younger audience. True enough, the majority of the house was filled with older patrons, who laughed and enjoyed. I wonder whether the commentary on the relationship was too subtle; where the play could benefit from a Mad Men style comment from within the period, we had silliness and fun, but with not a quite sufficient amount of the dark undertones to truly make the text relevant today. 

Nonetheless, a fun production, faithful to the style and period. 

Photo by Bruce Monk. 

Audition Notice - CLINK by Hannah Foulger

Currently casting for one of my upcoming projects.....Check it out!

Casting Call HER PRODUCTIONS

CLINK

A New play by Hannah Foulger 

Directed by Kendra Jones

Running July 15-23 at the Winnipeg Fringe Festival

Rehearsals will run on evenings and weekends starting in May. Times and lengths to be determined based on cast/crew availability

AUDITIONS: February 20, 5:30 - 10:00 at the Asper Centre for Theatre and Film


One role:
RACHEL: 20s, Smart, successful bride determined not to become a Bridezilla.


If interested please send your resume and headshot to herproductions2015@gmail.com 

Profitshare to be determined. 

Who's a Coward?

Darlings, it is the end of January, and therefore time to celebrate a playwright! Royal MTC's Master Playwright Festival honours British playwright Noël Coward this year, which means we're in for some fun. Contrary to many of the previous playwrights, Coward's work is characteristically comedic -- he writes silly people existing in a frivolous time, focusing primarily on the English upper classes in the earlier parts of the 20th century. Gin, champagne, music, parties, fabulous clothes -- what could be better! Yet it is all under-pinned with a sense that there are more serious matters hiding beneath the decadence. Less hearty than American contemporary F. Scott Fitzgerald's scathing account, Coward's characters inhabit a world of fun and games, where the seriousness of their predicament and the impact of their choices is left for another day's discussion.

As usual, several local companies are stepping up with productions: Royal MTC present Private Lives, directed by Krista Jackson who has become a staple in the MTC Master Playwright camp for the past few years. Echo Theatre go site-specific, with Coward's ghost-addled Blithe Spirit presented at Ralph Connor House, which is bound to be a fantastic time. There are also some indie shows, including Noël Collaborates, a new work based on Coward's correspondence with long-time friend Esme Wynn, and book-ending the first play either wrote called Ida Collaborates.

My own contribution to the festival is of a slightly different tone. For me, Coward is about marvellous parties and adventure, so my creative partner and I have put together a one-night event called Tonight At Eight, which is essentially a Coward party you can come and enjoy, rather than watch from the opposite side of the proscenium! There are adventures to be had, all in good fun. Our show is at the RAW gallery on McDermot, February 7 only.

For more info on Tonight At Eight, visit our Facebook Event.

And check out the festival's website for a complete listing.

Writing

I have been horribly delinquent recently in my personal mantra to write about everything I see. I don't really have an explanation for it, to be honest. I am seeing work. I don't hate what I'm seeing. But I also have not been particularly taken by it. It all feels frustratingly SAFE, which for me, is the death of true creativity. Granted, I get that not all audiences are willing to watch Lars Eidinger roll around in wet mud and spew Goethe translated Shakespeare at them. I totally get that. But at the same time, I think we sometimes sell our audiences short in our expectations of what will sell, which then perpetuates their own feeling of safety in their choice. It is a huge self-perpetuating problem. 

Obviously, I'm one person, and one with limited time. And who maybe sometimes likes to get paid, which I recognize means might mean some accommodations. But that said, I also sometimes want to say "screw it" and just make all the work I want to make, as self indulgent as that may be, and if we have an audience of 10 people, so be it. 

I am generally against resolutions, but I'm going to state one now: I resolve to see the work that might be challenging. It is far too easy in our busy schedules to not make it, but tired or not, busy or not, I'm going to make it. 

ATTEND theatre. And I'm going to get re-motivated to write about it. 

UPCOMING: Special Reserve - A Wine & Words Launch Event -- Nov 19 @ ACI, presented by Theatre By The River

I'm very excited to share with you information about my first directing project with the company since joining Theatre By The River earlier this year. For those unfamiliar, the annual TBTR fundraiser is Wine & Words - a night of new writing read dramatically by local actors and celebrities. The Spring event this year had so many fantastic submissions that we've held on to what we're calling our "Special Reserve" and holding a smaller, more intimate event this month as a launch to the 2015 season including the Spring Wine & Words, as well as some other upcoming projects.

There are many performers to be excited about! Virgin 103's Pamela Roz, Winnipeg Free Press writer Bartley Kives, Singer/Songwriter Süss, as well as local performers such as Justin Otto (Armstrong's War - MTC Warehouse), Ellen Peterson (The Small Things - PTE), and the TBTR company who have just wrapped Cock & Bull in rep are joined by a host of others.

Prior to joining the TBTR fold, my own writing has been featured (in the 2013 event) and in the Spring 2014 event I was honoured to read a poem by Christine Fellowes. I'm very excited to get to lead this event this time around!

Please join us for a unique and informal night of words, wine, and music.

Tickets are $15 and available at www.theatrebytheriver.com 

The Small Things by Daniel McIvor @ PTE

Prairie Theatre Exchange open the 2015 season with another new play by Canadian Daniel McIvor. The Small Things focuses on a home care worker in a small town and her daughter, who encounter an  older widow. The premise is simple; mother and daughter don't understand one another, encounter the wise and surprising older woman, and learn more about each other and themselves in the process. The execution (both the writing and production) take this premise to a more interesting level, offering unexpected twists from each of the women, and some very funny moments of revelation about our own apprehensions to things we don't think are "for us".

The performances are quite lovely, most notably Ellen Peterson who gives a strong and nuanced performance. Alyssa Watson is also touching as the daughter. Barbara Gordon (and her brilliant voice) are highly enjoyable, the three of which come together nicely under Bob Metcalfe's direction.

My only quibble is that the play felt like it wrapped up entirely too quickly, the final scene feeling a bit too neatly tied up, and (I expect) unintentionally Chekhovian, with the three characters gazing outward and exclaiming about something which is beautiful, oh so beautiful.

Armstrong's War by Colleen Murphy @ RMTC

RMTC open the Warehouse season this year with a new play by Canadian playwright Colleen Murphy. Similar to some of Murphy's previous work (EG The December Man which was a part of PTE's season a few years back), Armstrong's War digs in at a piece of contemporary Canadian experience, this time dealing with a young soldier returned from Afghanistan due to injury. Soldier Armstrong (played with beautiful sensitivity by Justin Otto) meets young Armstrong, a 12 year old Pathfinder aiming to complete her community service badge by reading to a veteran.

The unlikely couple begin, as you would expect, at odds with one another. Otto's soldier wants simply to be left alone, however the plucky young girl, played convincingly by not 12 year old Heather Russell, shows that the elder isn't the only one with steely determination. Russell's character, portrayed from a wheelchair, eventually coaxes the elder soldier into a reluctant, but ultimately rewarding friendship.

The early scenes do come off as stilted; Murphy's play gives very little time for them to be opponents, and in only their second meeting the hardened soldier eases in to a friendship, which to be frank is unbelievable. That said, the play then jumps into the real friction between the characters, when each begins to reveal at first their stories about themselves, and then the real truth. Under Robb Patterson's direction, the pair are well matched, each bringing a strength and vulnerability to these characters.

Opening night energy meant that the piece moved a little bit too quickly, particularly in the set changes, which cleverly employed a stage hand dressed as a hospital orderly. I fully expect the pace to slow as the performers settle in, for as we saw on opening night this was the case, and the latter half sat beautifully.

An important play about the real effects of our international engagements as Canadians and the human cost.

Jabber by Marcus Youssef at Manitoba Theatre for Young People

Marcus Youssef's Jabber was first commissioned in Montreal, and makes its Winnipeg debut with Manitoba Theatre For Young People. It tackles some serious subject matter, all of which is highly relevant to the targeted teen audience; fitting in, gender expectations, cyber bullying, parental strictness, and expressions of love all come in to play. Add to that the additional layer of the young girl being Muslim and moving to a school where she is quite visibly different from her fellow students, causing her to experience racism as one of the manifestations of her "other"-ness, the story becomes red-hot.

Structurally, Youssef adds an interesting element of hope to what might otherwise be a bleak subject. The scenes are set up by the actors, as if playing make believe, stating "lets' say. . . " to build the situation. This occurs heavily at the beginning, and then tapers throughout as the audience grows attached to these possibilities and the choices made within them. The execution comes off a little heavy-handed, as the actors sounded a bit shouty over the backing music in the early scenes, however later instances really worked.

The performances are uneven; Adele Norhona is thoughtful and perceptive as Fatima, the young girl who the story centres on. Kristian Jordan has some lovely moments, however also at times comes across as awkward and un-centred. Cory Wojcik adds some great comic relief, as the teachers, and also a surprise small role as a teen. Unfortunately, the net result is a large stylistic difference in the 3 performances, which causes it to lose some of the cohesiveness that might have helped the play succeed more handily.

That notwithstanding, it is a great story for its intended audience, although parents of the younger 12-13 year old set might find themselves with some things to explain after the show. It definitely skews toward the middle to older edge of the intended bracket.

I'm truly disappointed

Tonight, while attending the mayoral debate hosted by City Watch, I also engaged in some "back and forth" with mayoral candidate Robert Falcon-Oulette. Up to this point, I have been very much impressed by his ideas, approach, and poise. Unfortunately tonight I was disappointed. Not by his performance in the debate - that was impressive - but by the behaviour of his team in responding to and managing social media.

As you may know, there has been some hullabaloo over the City Firefighters endorsing Judy WL. While this has been a practice for as long as I can remember (firefighters unions endorsing candidates) I certainly value the questioning of this support. It is an extremely valid question. Mr Forrester, president of the union, responded in an inappropriate manner, and Dan Lett of the free press published these comments. None of this is okay.

Neither is attributing statements to a candidate that they did not make. I saw it come across Dr Falcon-Oulette's twitter that Judy had made a statement about him being a fringe candidate. Search as I may (and request links!) I could only find indication (in the previously linked article) that Mr Forrester had made such statements. I pointed this out, and received only circular comments in response, including those from Dr Falcon Oulette's twitter page. I know for a fact these statements were not his own; he was sitting in front of me at a debate, with only a pen and notebook in front of him. They were that of his team, which is worrisome.

The tone of these posts was less than amicable, and definitely unprofessional. Unprovoked, as many of my tweets for the evening highlighted Dr Falcon-Oulette's strengths, and were re-tweeted by the candidate's team.

Within 2 hours, the inappropriate responses were deleted. No comment to myself. And a good handful of supporters now running with incorrect assumptions.

I'm all for truth and transparency. 100%. But that is a two-way street. You can't make unfounded accusations, respond in a snarky manner, and then delete it. Once something is on the internet, it is there forever.

I think that both Judy and Robert are fantastic candidates. I wish there was a way to merge them into the super candidate. As my 10 year old stated during the debate, if we could, we would have one fantastic city.

Lets' not devolve into inaccuracy and mud slinging, please. Rise above it. RFL needs to reign in his social media team, and yes, Judy's team should make a statement about the inappropriate comments from the firefighters. Then lets get back to things that matter - how to make a better city.

Cock by Mike Bartlett - Theatre By The River

At only 34, Mike Bartlett's writing has been produced by some of the top theatres in London on top of seeing productions around the world, after emerging from The Old Vic New Voices programme in 2005. Cock premiered in 2009 at The Royal Court, a theatre famous for "breaking" new playwrights (you know, like Caryl Churchill, Tim Crouch, & more). The story is one of a man at odds with his feelings; John is in a relationship on the rocks, and has an affair with another partner. His first partner is a man, the second, a woman. But what matter?

Bartlett's play challenges us through John's seeming indecision; why must a decision be made about WHO to love based on some ideal? Why do we feel this necessity to pigeon-hole people into descriptive boxes? Truly, why does it matter who we love? Bartlett won the coveted Olivier award for this intellectually stimulating yet visceral play.

Winnipeg's Theatre By The River, under the direction of Rodrigo Beilfuss, bring this beautifully written and challenging piece of theatre to Winnipeg audiences in only the second Canadian production (Toronto beat us by a few short months...).

This is a different kind of theatre. One that doesn't rely on sets or props, or anything - simply words and their power
. Challenge yourself. Prepare to think, and try something new.

Cock runs in rep with another of Mike Bartlett's plays, Bull (same cast, different plays, different nights) through October 4th at the Platform Gallery.

For tickets head over to Theatre By The River's website.

The Fringe is Upon us!

It is that week of the year when the Exchange District in Winnipeg becomes overwhelmed with excitable theatre-goers, looking for the "best" show, some curry, and a beer. For me, the BEST show is one that gives you all three at once!

In honesty though, we can all get caught up in the reviews, the drama (offstage) and the politics (back stage) so lets' try not to this year, by following my simple steps.

Performers - Be honest and truthful to the show and performance you have worked on. Remember that only very rarely are we in a "hit", and that one person's opinion is just that - one person's opinion. Share your work earnestly because really that communion between audience and performer is all we've got. Don't be upset by a poor review, and don't fly high from a good review. Remember that 3 stars is actually a pretty good review! It is not the disaster it may initially feel like. Just keep performing your show. Truthfully. And to quote Genet, "if it is done well, they won't be bored".

Audiences - Stay true to your tastes. See shows that seem interesting to you based on their write up in the program, poster, etc. Don't get caught up in the "hit" show - I've seen many things reviewers have touted as 5-star and been disappointed. At the same time I've seen loads of things that were "average" or worse, and been transported by fantastic writing, performances, and overall production. If you see something you like, share that with someone. If you see something you don't like, try to assess the piece on its own terms, not based on your tastes. We're a communal art, after all, so the most important thing to do is share your thoughts.

For any who usually follow my reviews, this year I'll be part of the CBC Review Crew - so the vast majority of my thoughts will be available here: http://www.cbc.ca/manitoba/features/fringe/

Happy fringe-ing (and curry-eating!)

PS - remember that loads of "fringe" shows happen outside the festival and throughout the rest of the year, so plan to FRINGE ON ;)

Fefu and her Friends - Sarasvati Productions @ Ralph Connor House

This enjoyable staging of Maria Irene Fornes' feminist classic Fefu and her Friends by director Hope McIntyre was presented promenade style in the historic Ralph Connor House. The audience began together in a basement room, where we were introduced to the characters, after which groups were split up to see 4 scenes occurring simultaneously. Each group saw the scenes in a differing order, which provided a slightly different colour to the remainder of the play. For example, my group saw the more pedestrian "every day" events first, then the stirring bedroom scene with Kelci Stephenson, leaving my impression to feel that this scene was somewhat disjointed from the rest of the play. In contrast, a friend saw that scene first, and then the less ominous scenes, and found that she heard the screams echo through the other scenes to great effect. This is, of course, one of the downfalls of this sort of production, as perspective can play such a crucial role in the experience.

I also found the promenade to be at once enjoyable, but also frustrating - the lovely volunteers who led us from room to room were helpful, however seeing the other groups move through the house all at once took away from the sense of voyeurism that we might have otherwise felt. The beautiful proximity to the characters' personal moments was broken once we began to move to the next space, encountering our fellow audience members eye to eye. I wonder whether cutting to 3 groups might have limited this somewhat and made for a more immersive experience.

These qualms aside, the cast put forward uniformly strong performances, and captured the period and its (still very relevant) ideas beautifully. On the whole it was an enjoyable production, and given audience enthusiasm for it I hope it will open doors to continued experimentation with the audience-actor relationship in Winnipeg theatre circles.

The Secret Annex by Alix Sobler - MTC Warehouse

First I must apologize for the tardiness of this post; I saw the performance nearly a month ago! But alas my intense schedule in March, coupled with the Blogger app's reluctance to save the previously written post, conspired to set me back.

This was a world premiere of the new play by Sobler, which begins with the question of what might have happened to Anne Frank's diaries had she not been killed in the holocaust, but rather survived the war in the attic, then emigrated to Brooklyn. We see Anne, Margot and Peter as young-ish adults with jobs, houses, responsibilities. Margot is engaged, Peter has a sweetheart but continues to be caught on Anne, and Anne, still the proud owner of her diaries, is intent on having them published. In the early scenes, the connection between the 3 from the attic is clearly created, and as we see new "modern" characters introduced in the form of Anne's potential publisher and her boss-turned-husband we see the difference this solitude has made in their ability to encounter the world.

Frustratingly, the text is a bit heavy handed and just a little repetitive with Anne's constant "do you remember the attic" queries to everyone around her. We can see, rather than be told about, Anne's obsession with informing about the past while confronted with a 1950s New York City that just wants to keep rushing forward. The new characters are uneven; Michael, Anne's husband comes across as more than just a little creepy. In contrast, the publisher is every inch the image of the 1950's career woman, bringing us an image of what Anne might have been under different circumstances.

The performances were strong, and ably guided by Heidi Malazdrewicz making her directorial debut for MTC, and Charlotte Dean's design of the production was stunning.

Romeo & Juliet - Canada's Royal Winnipeg Ballet

I am fairly certain that the last time I had the pleasure of seeing Rudi vanDantzig's stunning R&J was as a fairly small child at some point in the mid 90's. So it was with great joy that I shared the RWB's production with my young daughter during this season, after preparing her with a "coles notes" of the story. The company shows off well in this piece which features stunning group scenes performed with fantastic unison and emphasized by Prokofiev's alternatingly angry and soothing score. And the leads acquitted themselves beautifully; Yosuke Mino's playful Mercutio danced the riddles of the text, while former company members such as Tara Birthwistle and Johnny Xiang playing the parents. These all highlighted the strength of young Elisabeth Lamont who made her debut as Juliet during this production. Lamont's artistry was outstanding - she clearly thought through each moment of the story in beautiful detail, showing us Juliet's joy and heartbreak. This was probably one of the few times I've been emotionally moved by this story in years, having studied it so technically and intensively to creative ends. 

To be on balance, if the RWB are to re-mount this ballet again they may want to consider an update to the set which at times felt a bit worse for wear. It was complemented nicely by stunning lighting design and lavish costumes, however. 

Three Sisters: A Black Opera - by Kristine Nutting - Who Is John Moe Productions (ChekhovFest)

Certainly among the more lively of Chekhovfest's productions, the company of Three Sisters: A Black Opera present an irreverent re-think of one of Chekhov's greatest plays, by prairie playwright Kristine Nutting. The premise is excellent; the 3 sisters are located in Bigger, Saskatchewan, with only their father-turned-dragQueen Mummy-Daddy, a terrifying Credit Union Manager trying to buy Pax (the Irina parallel), and a cute but dopey pig farmer also in love with Pax. Through a sordid tale, we see the sisters' desires and hopes dashed, much like the original. And unfortunately much like the original...nothing much happens. While the clever songs and witty monologues are fun, we never seem to progress beyond the opening moment in terms of style and energy. When a show begins with such a high note, it is tough to progress anywhere, I suppose.


There are certainly things to love in this performance; Dora Carrol is hilarious, Jacqueline Harding's voice is to die for, Jeff Strome's Mummy-Daddy is fantastic, and the accompaniment led by the highly talented Suss adds a beautiful macabre element to the proceedings. Unfortunately the cast is uneven, both vocally and in terms of performance skill, and as a result the piece feels lengthy, even though at only 75 minutes it is definitely among the shorter of the festival. The use of the space (the wonderfully seedy Club St B is a perfect fit for the show) is clever at first, but then stagnates. And depending on your location in the audience, there are some serious sight line issues.

Overall a fun show, definitely a great break from the slow anxiety of most Chekhov fare, but it left me wanting more out of the text and direction.

The Seagull by Anton Chekhov - Manitoba Theatre Centre Warehouse

I could not have been more pleased to catch the opening night performance of The Seagull as my kick-off to this year's Master Playwright festival. Under the clever direction of Krista Jackson, the cast spark and bubble through the story, finding the beautiful notes of humour mixing among the boredom and melancholy that permeates these characters' lives. What I found most notable was the relevance Jackson was easily able to draw out of the text compared to contemporary life; these characters are rendered helpless by their ideal selves, constantly performing the version of themselves they want to be, despite the harsh reality that their lives are not what they make them out to be. Glimmers of recognition rippled through the audience as we recognized this very trait among contemporary society obsessed with material goods, outward appearance, and social media, while never truly connecting. 

The cast are well matched; Sharon Bajer is a comic-tragic gem as she plays the melodramatic actress Irina, while Bethany Jillard's Nina is frighteningly naieve. Tom Keenan's Kostya is strong, although I felt some moments could have used refinement and a more simple touch. 

I would be remiss not to discuss the design, which craftily created differing spaces that were simultaneously lush and minimalist; the outdoor garden scene was particularly notable for its clever use of lighting. And the sound design, with a rock-polka feel definitely contributed positively to reminding us that these characters, although aristocratic, are not the "ideal" humans of tragedy, but the flawed and simple beings who populate the comedy of every day life. 

Such Creatures by Judith Thompson - Incompletely Strangled

Judith Thompson's writing is hallmarked by its unwavering focus on difficult subject matter, and Such Creatures is no different. The piece consists of two monologues; an octagenarian holocaust survivor re-visiting the locale of her internment and re-living memories of her own revolt against the oppressor, contrasted with a teenage girl inner-city Toronto fighting her way through a single substance abusing parent, high school, and rivals. Each monologue unfolds, initially in longer sections back and forth, however as the stories and the plight of each woman unfolds, the overlap grows closer, calling the similiarity of their fear to mind.

This production, the first from new company Incompletely Strangled, and directed by veteran Arne McPherson does a fair job of introducing the two women to us; initially they are miles apart, yet as their stories grow, the space between their experience shrinks. Doreen Brownstone shines as the older woman, beautifully crafting her story and pulling the audience through each moment with a magnetism that is outstanding to watch. Although some pieces of the text were referenced from a script cleverly hidden in her stack of books, this did not impact her performance whatsoever, her clarity of intent pressing forward. The younger character was played with spunk by Gislina Patterson; we were taken along her journey of fear hidden behind a tough exterior. While she hits some of the tough notes beautifully, her performance at times could have benefited from a bit of simplicity which would have given the overall performance more shape. A difficult role for any young performer, Patterson certainly shows a gem of talent I look forward to seeing develop.

The production as a whole, however, felt stunted by design. The stage was split into two halves, divided harshly not only by light, but also a 6 foot chain link fence. The older woman's side remained static and clean, while the younger's side was littered as a playground, and also had projections on the back wall. For me, the division of the set meant that not only were the transitions back and forth a bit slow rather than a ping pong match between the two women's stories I would have liked to see, but also the overall feeling Thompson crafts - that these experiences are encroaching on one another, and at their core of fear aren't at all unlike one another - was lost. I would have liked to see both women inhabit the same space somehow. Additionally, while some of the projections were compelling, others were quite heavy handed in their imagery.

All of this aside, I did enjoy the piece, and look forward to what Incompletely Strangled bring forward next!

Best Brothers by Daniel McIvor - Prairie Theatre Exchange

Daniel McIvor brings us a very Canadian story with this tale of two brothers whose mother has died under curious circumstances (crushed by a large drag queen falling off a pride day float) and now the pair must deal with their loss together. The two could not be less alike, with the elder a straight laced hard working type-A architect, married with an ostentatiously expensive flat in Toronto (an entire scene plays out on the subject of his $250,000 kitchen. honestly...). The younger is a gregarious real estate agent, dressed regularly in purple through the show, and the reason for his mother's presence at the pride parade. The third "brother" is their mother's beloved dog - who truly had the mother's love, unlike her less furry sons. 

The piece was snappily directed by Bob Metcalfe with a keen attention to the darkly humourous subject matter, and well performed by the two performers. I would have liked to see more detailed physical work go into the scenes where the sons donned a hat and gloves and "took on" their mother's persona for a series of monologues. While these had potential to be sparkling, they came across as caricatures of the mother, which for me lost some of the impact. 

My overriding feeling, however, was that the play itself appeals to that part of us that wants to live that "ideal" life - the part that wants to write the perfect obituary for the slightly eccentric widowed mother, and whinge over such things as a $250,000 kitchen. But to be fair, I don't think that part of many of us even exists. 

We've struggled for years to create a truly Canadian theatre with our own voice separated from that of the British and American theatres, and I worry that this sort of piece sets us back.