Category: Theatre Reviews

Porno Death Cult Stages Unsettling Dance-Theatre Meditation on Faith

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PDC Photos by Clancy Peek A Boo Hair

Tara Cheyenne Friedenberg’s Porno Death Cult ran Jan 14 – 16 at the West Village Theatre, as part of the 2016 High Performance Rodeo. Photo Credit: Clancy Dennehy.

Written and performed by Tara Cheyenne Friedenberg, Porno Death Cult is a humorous, often unsettling dance-theatre meditation on faith and belonging. Playing different characters, Friedenberg seeks truth, or some semblance of it, in religious and spiritual practices.

The audience is first introduced to Maureen, a nervous middle-aged Christian woman. Awkwardly, she tries making small talk with the audience. Maureen’s loneliness screams aloud like a truck flying down the autobahn.

Later, Friedenberg transforms into a crazed preacher who sees fire and brimstone on the horizon. His words are imbued with passion, but rarely does any of it make coherent sense.

Behind Friedenberg, there is a large altar (set design by Mickey Meads) of various icons and photographs.

Maureen is in her home, preparing for a party. Her only invited guest is Jesus. Unfortunately, he never arrives to the party, leaving Maureen all alone.

The truth of the matter is, Maureen is likely chasing religion for all the wrong reasons. Or maybe, she’s in it for all the right reasons. It’s hard to say, but there’s an overwhelming sense that Maureen sees religion as a way to combat her loneliness. Maureen lists multiple religions she’s chased, proving she’s not particularly picky about their core values. She’s seeking fulfillment, and going through religions until she achieves it.

This makes for an interesting contrast between Maureen and the spiritual guru who we later meet in the show. The spiritual guru celebrates achieving total numbness, suppressing all feeling for ‘clarity’. The guru seems to have all the answers, at least he’s convinced himself that he does.

And then, there’s sexy Jesus, who speaks like he’s the coolest guy on the beach. The line between religious worship and fetishization is thin.

Running through this show is great uncertainty in the face of life’s biggest questions. The uncertainty produces explosive movement from Friedenberg, dressed in a white three-piece suit. Her movement cuts the air with its frenetic energy. It’s exhilarating, if not terrifying. Marc Stewart’s original music, with its raw, pulse-pounding sound, enriches Friedenberg’s movement.

Friedenberg is a versatile performer, no doubt. She summons a whirlwind of emotions and theatrical play in this compelling one-woman show, directed by Marcus Yousef. Her nervous humour is certainly unique. Audiences won’t be sure what to make of Friedenberg at first, but that doesn’t make this experience any less enjoyable or approachable.

Presented by One Yellow Rabbit, Friedenberg’s Porno Death Cult is an intense, thought provoking experience that takes grip of its audience and doesn’t let it go until the very end

Tara Cheyenne Friedenberg’s Porno Death Cult ran Jan 14 – 16 at the West Village Theatre, as part of the 2016 High Performance Rodeo.

For more information about the show, visit: https://www.hprodeo.ca/2016/porno-death-cult

For more information about the artist, visit: http://www.taracheyenne.com/

Like A Bucket of Spilled Paint: One Yellow Rabbit’s ‘Calgary, I Love You’ is Colorful, but a Total Mess

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Members of the Ensemble in One Yellow Rabbit’s Calgary, I Love You, But You Are Killing Me. Part of the 30th High Performance .jpg

Members of the Ensemble in One Yellow Rabbit’s Calgary, I Love You, but You’re Killing Me. Part of the 30th High Performance Rodeo. Photo Credit: Trudie Lee.

If the city of Calgary has a soul, it’s a strange one. If nothing else, that’s what audiences can expect to take away from One Yellow Rabbit’s Calgary, I Love You, but You’re Killing Me.

Written and directed by Blake Brooker, ‘Calgary, I Love You’ is a musical journey through the soul of a city largely defined by oil and the frontier. The show sets out to paint a broader, more detailed picture of Calgary, from both the inside and outside. And while fun and insightful at times, the production is ultimately like a bucket of spilled paint, colorful but a total mess.

One Yellow Rabbit was founded in 1982, and the performing ensemble has called the Big Secret Theatre home since the late 80’s. In other words, the company has been around a long time, so if any group knows a thing or two about Calgary, it’s the Rabbits. Here, Denise Clarke and Andy Curtis are joined onstage by guest artists Karen Hines and Jamie Tognazzini. The artists are accompanied by musicians Kris Demeanor, Jonathan Lewis, and David Rhymer.

The show opens with various stories surrounding Calgary’s origins, starting with a creation myth told by Clarke. Curtis dismisses the fanciful story for something a little more ‘textbook’. He tells a story about early settlers – led by Joseph Tomato, a Mormon-inspired figure – who took were given the land by the native people. Hines’ account claims that aliens first populated Calgary – which would explain the politics.

No matter how the city was founded, there is no denying that Calgary has become a “city of ideas,” a magnet for many in search of opportunity. Sometimes, though, life throws us curveballs.

Tognazzini plays Kyla, a young woman who lives in a condo, but can’t afford her most recent purchase, a MacBook. She tries returning the computer to the store, then later selling it online, but with no luck. The credit card bill is fast approaching, and Kyla is in serious need of funds. The ensemble tell Kyla, through catchy song and dance, to “get a job” and that she shouldn’t ashamed of moving back in with her parents. There’s a strong sense that Kyla’s Calgary dream has burst as a result of the recent economic turmoil, and that her damaged ego is specific to someone who migrated out west from, let’s say, the maritimes. (Migrating out west has almost become a rite of passage for young people out east).

The ensemble stage a hilarious scene where different residents share their favourite places in Calgary to have a panic attack. The scene is fitting given that Calgarians are reported to work the longest hours in Canada, and also binge drink more than other Canadians. (The show’s title is perhaps more literal than anyone expected).

Hines offers a different and humorous perspective of Calgary as a Torontonian. As Hines sees it, the frontier spirit has escalated to beautiful wealthy hipsters living in lavish condos where they enjoy all sorts of ridiculous luxuries. Are they happier than the rest of us? Probably, she says.

Somewhere in this show that runs 120 minutes (with a 15 minute intermission), there lies a great concept, waiting to be executed with much more precision. The few scenes highlighted above feel as though they serve a purpose, that they say something about the character of Calgary and the complicated relationship its citizens have with their city. And then, there are scenes that outright miss the mark. For example, why do we need to hear about some guy, played by Demeanor, who avoids being robbed at the liquor store he works at because he was busy masturbating in the bathroom? Sure, the scene’s crassness is funny, especially with the way Demeanor tells it, but how does it serve the greater narrative?

Calgary’s nuisance animals later take the stage in a rather unusual scene. Clarke and Curtis play a magpie (misunderstood birds, by the way) and squirrel, respectively, and Hines plays a gopher. And that’s about it, really. The scene wins howling laughter from the audience, and then just keeps on going, not satisfied until its milked every bit of Clarke’s screeching magpie – “I’m a positive magpie!”

The audience is later subjected to a scene where Curtis plays a horse whisperer, and a horse, played by Lewis, sings his inner monologue to the audience. Also, Hines plays a landscape, and Clarke is the horse’s bottom half. The scene feels better suited for a David Ives play, than this show that tests the audience’s patience.

At least the ensemble present these scenes with a lot of zest and commitment to the silliness. Even so, the gallery of scenes feel inconsequential, fit for the cutting room floor.

One Yellow Rabbit had the chance to say something meaningful about Calgary, a city that they have called home for over thirty years, but instead they have chosen to squander it on cheap laughs. The disappointment is made greater by the fact that there are glimpses of brilliant wit and humour that run through the show. Unfortunately, the production suffers from a significant lack of polish, resulting in a lengthy, disjointed mess of ideas, each clamoring for attention.

Theatre goers at the 30th Annual High Performance Rodeo can skip One Yellow Rabbit’s Calgary, I Love You, but You’re Killing Me.

One Yellow Rabbit’s Calgary, I Love You, but You’re Killing Me runs Jan 12 – 23 at the Big Secret Theatre (Arts Commons), as part of the 2016 High Performance Rodeo.

For more information about the show, including how to purchase tickets, visit: https://www.hprodeo.ca/2016/calgary-i-love-you-but-youre-killing-me

Paddle Song Stages Life of E. Pauline Johnson

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Cheri Maracle stars as E. Pauline Johnson in Paddle Song, written by Dinah Christie with Tom Hill. Photo Credit: Benjamin Laird Arts & Photo.

If any famous Canadian deserves a Heritage Minute, it’s poet E. Pauline Johnson.

The daughter of a Six Nations Mohawk Chief and an English mother, Johnson toured across North America and England in the late 19th century, earning recognition everywhere she went. Audiences and literary critics, both contemporary and modern, praised Johnson’s poetry for its evocative imagery and urgent voice. Through her poetry, Johnson brought attention to the struggles of women and First Nations people.

Johnson’s life is chronicled in Paddle Song, written by Dinah Christie with Tom Hill. From her childhood days spent on the Grand River to the early days of her prosperous career, and beyond, the one-woman show stages an elegant presentation of the poet’s life. Canadian actress, singer-songwriter Cheri Maracle stars as Johnson, delivering a performance best summed as genuinely captivating.

The set-up is fairly straightforward, as most biographical plays are. Paddle Song takes the audience through the poet’s upbringing, her inspirations, and most importantly, her insecurities. Johnson’s insecurities stem from her entering into a field historically dominated by (white) men. The praise written about her in the papers is uplifting, but also the cause of much anxiety as she feels burdened with expectations (magnified by her status as a woman of mixed heritage).

Johnson also deals with the difficulties of touring, specifically the physical strain on her body. Perhaps fueled by a desire to prove herself, Johnson continues touring despite her body telling her otherwise.

Maracle’s wonderfully nuanced performance makes clear the magnitude of Johnson’s accomplishments. In Maracle, we see a young woman who is both excited, but also terrified at the revolutionary path she has set herself on. From Maracle’s performance, the audience gains a sense that Johnson truly appreciated every moment of her fame, as maybe she thought it might disappear at any moment – fearing she might be a fad in the literary world.

Maracle’s performance also sees lots of sharp quips and asides that radiate confidence. Her stage presence is marvelously magnetic. Her performance is a true delight.

Over the course of the play, Maracle recites a selection of Johnson’s poetry, including one of her most well-known works The Song My Paddle Sings. Maracle performs Johnson’s poetry with tremendous grace and power. The emotion in her words during A Cry From An Indian Wife is volcanic. Her talent brings Johnson’s poetry to life, and will undoubtedly lead many in the audience to seek out more of the poet’s work.

Christie’s energetic direction sees this humorous, touching play move effortlessly. The director goes for simplicity here, following the adage of ‘less is more’. Johnson’s canoe is nothing more than a bench, and that’s all Maracle needs (besides her paddle) to transport us to the river.

Often the literary contributions by women are overlooked or obscured by those made by (white) men. And so, staging plays like Paddle Song is critically important to the task of exploring and establishing a well-represented canon of Canadian literature. (Which is why the Heritage Minutes were mentioned, as they shape and influence the public’s cultural knowledge bank).

Co-presented by One Yellow Rabbit and Lunch Box Theatre, Paddle Song is a beautiful production that audiences should make every effort to see at the 30th Annual High Performance Rodeo.

Paddle Song runs Jan 11 – 23 at Lunchbox Theatre , as part of the 2016 High Performance Rodeo. Paddle Song is a co-presentation by One Yellow Rabbit and Lunchbox Theatre.

For more information about the show, including ticket information, visit: https://www.hprodeo.ca/2016/paddle-song

For more information about Cheri Maracle, visit her website: http://www.cherimaracle.com/

 

Evalyn Parry’s SPIN Opens The 30th Annual High Performance Rodeo

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evalyn parry SPIN - Photo by Jeremy Mimnagh

evalyn parry’s SPIN was first presented by Buddies in Bad Times Theatre, in association with OutSpokeProductions, March 2011. Photo Credit: Jeremy Mimnagh.

There’s a strong fascination with the bicycle in North American culture, due in part to its role in popular culture. Think about Steven Spielberg’s hit 1982 film E.T: The Extra-Terrestrial. The bicycle, thanks to E.T’s powers, offers Elliott and his alien friend an escape from the authorities, and grants them wondrous freedom. The popularity of Gameboys and Nintendos years later would see parents pushing their children to go outside and ride their bikes – experience in full the freedom of childhood.

Toronto theatre artist and songwriter evalyn parry’s fascination with the bicycle is about freedom, too, but a different kind of freedom, one that was fought for by women no longer satisfied with the status quo.

Written and performed by parry, SPIN is some parts history, some parts personal reflection on the bicycle and its ties with first-wave feminism. Bicycle percussionist Brad Hart joins parry in telling the story of Annie Londonderry, the first woman to ride around the world on a bicycle in 1895.

On a wager, 23-year old Annie Londonderry sets off across the world on her bicycle for a 15-month journey that will win her $10,000. No stranger to the world of advertising, Annie gains plenty of corporate sponsors for her trip, including the Londonderry Lithia Spring Water Company whose name she took on as part of their deal. (Her real name was Annie Cohen Kopchovsky).

Just so the audience realizes the significance of Annie’s trip, parry sets the scene for what’s happening in the ‘gay nineties’. The ‘mobile woman’ is on the rise, much to the chagrin of men who rather they stay in the home. Women have organized themselves to fight for the vote. Reformers are encouraging women to learn how to ride bicycles, while male doctors warn women that the bicycle may be harmful to their reproductive organs. Women’s fashion changes to suit the needs of mobile women everywhere, lending them even more freedom in movement.

The bicycle becomes important not only for transportation, but also social mobility.

While parry’s theatrical ingenuity is certainly praise-worthy, there remain moments where the material struggles to hold our attention, specifically the audience’s crash course on the bicycle as social phenomenon. Yes, the history of the bicycle is interesting (for some, maybe) and important for context, but it’s a bit difficult to form a connection with facts and dates, no matter how dressed up they might be. The presentation picks up once the group dives into the compelling story of Annie’s around-the-world voyage, or at least it’s made compelling by parry’s demonstrated passion for the subject. Until then, the show engages in a total ‘info dump’.

parry’s hypnotic spoken word is accompanied by Hart’s percussions on a suspended vintage bicycle, and a string trio (Cello: Kevin Fox; Viola: Angela Rudden; Violin: Kathleen Kajioka). Hart delivers a rich, satisfying musical experience by mixing and looping his bicycle beats. Who knew someone could play a bicycle as an instrument, and play it so well? The bicycle percussion lends the production a real grassroots, folk feel, appropriate considering parry’s own personal relationship with the bicycle.

From the first-wave to the third-wave, the artist’s personal relationship with the bicycle completes the ride, as parry tells us how she used to travel the streets of Montreal on her bicycle, defacing sexist billboards in the night. In a city where bicycles spark outrage from motorists (see: the cycle tracks downtown), it’s refreshing to hear and see such eloquent love for the bicycle.

Co-presented by One Yellow Rabbit and Theatre Calgary, as part of the 2016 High Performance Rodeo, parry’s SPIN is an original musical experience that breathes the spirit of adventure.

evalyn parry’s SPIN runs Jan 7 – 10 at the Martha Cohen Theatre, as part of the 30th Annual High Performance Rodeo.

For more information about the show and how to purchase to tickets, visit: https://www.hprodeo.ca/2016/evalyn-parrys-spin

For more about evalyn parry, visit her website: http://evalynparry.com/

 

Naughty But Nice is A Fun Fling, Despite Some Flat Notes

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The cast of Forte Musical Theatre Guild’s Naughty But Nice. Pictured: Scott Olynek, Selina Wong, Katherine Fadum, and Ahad Mir. Photo Credit: Kristian Jones.

There are only so many times a person can listen to the same holiday album before wanting to tear their hair out. Sorry, Sinatra. What’s worse is that nowhere seems to be safe from the classic jingles, not even the local Safeway. So, what remedy is there for the jaded listener this holiday season, besides becoming a total shut-in? Well, there’s always Forte Musical Theatre Guild’s Naughty But Nice, running now at Lunchbox Theatre.

Directed by JP Thibodeau, Naughty But Nice is a musical revue that lampoons the holiday season with original songs from Canadian and international composers. The songs are performed by Katherine Fadum, Ahad Mir, Scott Olynek, and Selina Wong. Although fun and certainly sassy, the show falls flat at times, despite great performances from its cast.

For sure, the evening’s highlight is Dan Perrott’s Requiem for the Corporate Christmas Party. It’s no secret that the oil slump has forced companies to significantly scale back their christmas parties. What were major events are now, essentially, paper bag lunches. How’s that for getting into the Christmas spirit, eh? Perrott’s lyrics certainly hit a nerve given the downturn, but is it ever hilarious.

The ensemble sing in ridiculous French accents, with cigarettes barely hanging from their mouths. Lauren Thompson’s choreography sees the actors do a weird sort of full body wobble as they lament the current state of affairs. Everything about the number is deliciously over-the-top and wonderful.

Not all the toys in Santa’s bag are winners, though. For every batmobile, there’s a pet rock.

Frank Loesser’s Baby It’s Cold Outside, arr. musical director Joe Slabe, is given the naughty treatment by staging it as a blooming threesome. The “say, what’s in this drink?” line takes on a different meaning when we realize that Mir is being seduced by Fadum and Olynek, a couple looking for a third to join them. The number is funny enough, but it just feels too easy considering that some already think Loesser’s song is ‘creepy’ to begin with. (That’s a whole other discussion).

Then, there’s Matthew Hardy & Robert Maggio’s Bling, a song about Christmas bling. Wong breathes life into an otherwise forgettable song. Another forgettable number is Grant Tilly’s Thank You, Christians, a song about atheists and non-Christian faiths who see Christmas in an entirely different light.

The problem is, some of the songs feel too tame for a show titled Naughty But Nice. Perrott’s Requiem works great because it is definitely naughty to write and perform this type of song during a downturn, but he doesn’t go too far crossing the line. People can laugh without feeling (too) bad about doing so. The other songs come off as either kind of cheesy or just not very memorable, because they lean too much on the ‘Nice’ side of things.

The show picks up when the ensemble take the stage individually to deliver some really funny monologues.

Fadum destroys Hans Christian Anderson’s The Match Girl, a super depressing book she can’t believe parents read to their children. It’s a glorious takedown by Fadum as she gives us a play-by-play of the story, while angrily waving the book around like a ragdoll.

The War on Christmas is real, and Wong lights up the stage as she rages against red seasonal cups and people who wish her ‘happy holidays’.

Olynek recounts the very funny story of how he found out Santa wasn’t real and, at the same time, learned about the bees & the birds.

Mir, playing Jesus, tells us why it sucks to have Christmas and your birthday fall at the same time, and how it feels to be overshadowed by Santa Claus every year (“The Original Headline Act”, Edward Bell & Richy Hughes).

Perrott’s Requiem is the show’s bread and butter, with everything else being generally hit or miss. Thibodeau’s direction brings plenty of earnest zest to the staging, but the show never quite lifts off. And if it does, the show dips right back to square one, or somewhere awfully close to it. Some audience members may, in fact, find themselves asking, unenthusiastically “okay, what’s next?” after songs end.  If nothing else,  Naughty But Nice is a fluffy distraction from the winter weather.

Forte Musical Theatre Guild’s Naughty But Nice runs at Lunchbox Theatre, Dec 8 – 20.

For more information about the show, visit: http://www.fortemusical.ca/#!upcoming/cfvg

Theatre Calgary’s A Christmas Carol Summons Good Cheer Amidst Downturn

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The cursed ghost of Jacob Marley (Robert Klein) visits Ebenezer Scrooge (Stephen Hair). Photo Credit: Trudie Lee.

Let us not sidestep reality, times are tough for many Calgarians right now. The economic downturn has severely interrupted this holiday season’s jubilations. And so, given the current situation, there could be no better time to stage Charles Dickens’ hymn for goodwill, A Christmas Carol.

Now in its 29th year at Theatre Calgary, Dickens’ A Christmas Carol tells the story of Ebenezer Scrooge (Stephen Hair), an elderly miser who is visited by three spirits on Christmas Eve. (Allison Lynch and Graham Piercy return as the Spirits of Christmas Past and Present, respectively, with Joe Perry playing the Spirit of Christmas Future). Just before the spirits arrive, the ghost of Scrooge’s dear friend and business partner Jacob Marley (Robert Klein) warns him to heed the spirits or else face dire consequences in the afterlife. Scrooge’s journey with the spirits transforms him into a man of charity, kindness, and friendship after he sees the errors of his ways.

For many, A Christmas Carol is familiar territory. There is good reason the story has endured so long, because its message still remains true today, especially now when charity is needed most.

Everyday life leaves no room for charity, because there never seems to be enough time. Someone else will help the hungry, we tell ourselves, shedding any responsibility. Time is, of course, a luxury, and some only have so much time, like Tiny Tim (Annabel Beames). It is only until we step back from our daily business, as Scrooge does thanks to the spirits, that we realize both how how precious time truly is and the urgency of charity.

Dickens calls on us to help those in need as much we can, not only for their benefit, but the benefit of everyone. For charity is not just about helping others, but strengthening the social fabric we belong to as just a single thread among many others. In difficult times, a strong sense of community is vitally important to all as hardship can affect everyone, no matter who they are.

It is this message that makes this production of A Christmas Carol immensely moving during these difficult times. Amidst the turmoil, Calgarians have embraced the spirit of giving by doing what they can to not only help those affected by the downturn, but also refugees entering Canada. And it is not out of fear from spirits, but a passion for community, for laying the groundwork for a better tomorrow.  Charity enriches us all, the ultimate lesson from Scrooge’s journey.

Simply put, Theatre Calgary’s production of A Christmas Carol is pure magic. Director Dennis Garnhum stages the sheer terror and joy of this classic tale with gusto. The audience is taken through a marvelous journey, full of singing, dancing, and skating in the park, that moves like a reader eagerly flipping the pages of a book. Patrick Clark’s fantastic sets, in fact, have something of a pop-up book feel to them, giving Victorian England a vibrant look. The imaginative production is a feast for the eyes that will dazzle even the most hardened audience member. Audiences will be enchanted by the grand scale of this adaptation, rich with effects, staged inside the Martha Cohen Theatre.

The playful, yet sinister ghouls that haunt Scrooge’s manor look absolutely wonderful thanks to great costume design by Kevin Lamotte.

Hair, entering his 22nd year as Scrooge, is a magnificent talent. The actor is simply enchanting in this role of a man who, after many years, learns to laugh and cry. Piercy is lively as the spirit of Christmas Present, as he should be considering the spirit’s essence. Piercy has a wholesome laugh and bounce to his step that makes it all the more poignant when the spirit’s life draws to an end (the Present only lasts so long). Karl Sine plays Bob Cratchit, Scrooge’s overworked and underpaid employee, with the sort of sweetness that makes our heart go out to such a defeated, yet optimistic character.

For nearly three decades, Theatre Calgary has staged this classic tale for Calgary audiences, and this year seems more important than ever in keeping the tradition alive. Good cheer is alive through and through. Rarely does a production offer relief in the way this adaptation of A Christmas Carol does. Audiences will be enthralled by this profoundly stunning production of A Christmas Carol by Theatre Calgary.

Theatre Calgary’s A Christmas Carol runs Nov 26 – Dec 24 at the Martha Cohen Theatre.

For more information about the show, including how to purchase tickets, visit: https://www.theatrecalgary.com/2015-16/a-christmas-carol

 

Dave Kelly Shines Bright in Epiphany

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Dave Kelly’s Epiphany runs at Lunchbox Theatre, Nov 30 – Dec 23. Photo Credit: Benjamin Laird Arts & Photo.

Webster’s Dictionary defines epiphany as “a moment in which you suddenly see or understand something in a new or very clear way.” What Webster’s leaves out is that the road to epiphany is not always easy, in fact it can be really, really challenging. And what could be more challenging than trying to survive the holidays?

Enjoying its world premiere at Lunchbox Theatre, Dave Kelly’s new comedy Epiphany tells the story of Steve, played by Kelly, a middle-aged father whose world is turned upside down when he learns that his only daughter Amelia is pregnant. See, Steve isn’t ready to be a grandfather, not yet anyway. For one, he and Amelia don’t really get along, and then there’s the fact that Steve’s just too young to be a grandfather. In Steve’s mind, he’s still the young, promising musician who rocked the Ugly Buffalo so many moons ago with his buddy Danny (Tim Williams).

To add more stress to the holidays, Steve volunteers to play Jingle Bells at his wife Ruth’s Christmas pageant. The thing about that, Steve can’t actually play the whole song from start to finish. He’s lucky if he can play the first few notes!

There’s something very Canadian about this story that Kelly tells about a family who could very well be our own neighbors. A major reason for that feeling is the honesty of Kelly’s storytelling. In any other hands, Steve might fall under the tired ‘bumbling father’ trope, but here Steve’s shortcomings are presented with heart. Although he may not have everything all figured out, Steve tries anyway to do the right thing, even if it doesn’t always pan out. There’s something to admire about that sort of devotion in a person, and in a father especially.

It’s easy, isn’t it, to think of our parents as having all the answers when really, they’re only human. And that’s really what Kelly animates in this holiday comedy. Some audience members may go back and understand differently moments where they were at odds with their parents, or children. While no one is perfect, the best thing we can do is try, and always keep each other close. The life lesson is punctuated by delicious musical interludes from Williams, an accomplished blues musician, on guitar.

Director Christopher Hunt eases Kelly’s character transitions well enough considering the number of characters that make an appearance. Costume designer Rebecca Toon treats the audience to a real doozy of a pageant costume that makes the show’s finale all the more hilarious. (Seriously, the finale is a real hoot).

All in all, Epiphany feels like sitting beside a crackling fireplace on a cold winter’s night. There’s a lot to enjoy about a show that uncovers gems of truth through genuine, heartfelt humour. It’s no surprise that the show is almost sold-out, because audiences know Kelly is a charming and formidable storyteller. Audiences will not be disappointed by Kelly’s latest offering.

Dave Kelly’s Epiphany, with music by Tim Williams, runs at Lunchbox Theatre, Nov 30 – Dec 30.

For more information about the show, visit: http://www.lunchboxtheatre.com/epiphany/ 

Of Magic & Mumplings: Legend Has It Returns to Alberta Theatre Projects

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The cast of Legend Has It, which opened November 24 at Alberta Theatre Projects. Image provided by ATP.

Two years have passed since Alberta Theatre Projects premiered Rebecca Northan’s Legend Has It as part of the 2014 Enbridge PlayRites Festival of New Canadian Plays. Audiences who missed Northan’s award-winning comedy the first time now have the opportunity to catch it this holiday season at ATP.

Every night, one lucky audience member is chosen to star in an epic fantasy adventure to save the land of Jaro from the evil Haldor (Jamie Northan). Tonight’s hero is Phil, an electrician from Calgary, who the prophecy foretold would return peace to Jaro.

When Phil arrives in Jaro, he is greeted by a Mumpling named Maggie (Northan) who informs him that her people have been taken from their homes by Haldor and his minions. Maggie’s plan to save the Mumplings is made more urgent when her Gran (Christy Bruce) is captured. Phil and Maggie encounter the strange citizens of Jaro along their way to save Gran and the rest of the Mumplings.

Here’s the thing, the journey to Haldor’s castle will not be the same every night.

The magic of Legend Has It is that the entire show is improvised by Northan and the show’s ensemble. As well, the hero gets to customize their experience by choosing who will play their companion and who will play the villain. Think of the show as a real-life game of Dungeons & Dragons. The major difference from D & D is that, instead of dice or a pencil, the hero gets to wield a sword and fight in glorious slow-motion in front of 400 people.

Our hero Phil is a fast learner. He not only learns the ropes of stage combat  – it’s all about the squat – but he also gets a handle on trading witty banter with the ensemble.  The audience gets in the action, too, with their own comments. The theatre feels like a very communal space, full of good vibes.

Given the show’s improvised nature, surprise is literally around every corner. Some may feel uncomfortable with this, but rest assured the ensemble’s talent for improv is magnificent. There are certainly moments where the show goes off the rails, but these moments are far from disastrous thanks to the ensemble’s lightning fast wit. The actors roll confidently with the punches, finding opportunity in nearly every random element thrown their way.

While the ensemble may not be too concerned with presenting a serious epic like, say, Lord of the Rings, there is a genuine concern here by Northan to explore what heroism means. Northan brings notions of bravery from the realm of the epic to the everyday by asking Phil if he has ever lost anyone in his life, and how he overcame that loss. In doing so, Northan reminds us that life is itself an epic adventure, full of obstacles that we overcome everyday, making us each heroic in our own unique ways.

The show’s fantasy elements come alive thanks to Scott Reid’s marvelous castle set, and his lighting design. Reid’s dramatic lighting gives the slow-motion fight scenes a comical edge. Deitra Kalyn’s fantasy costumes feel as though they were plucked straight out of a Terry Pratchett novel. Jonathan Lewis’ original composition and sound design succeeds at underscoring the whimsy of Phil’s journey. Major praise for Ellis LaLonde’s ability to improvise sound cues on the fly.

Top to bottom, Legend Has It is this season’s ultimate feel good show. Northan’s comedy invites us to laugh, reflect, and maybe discover something new about ourselves. With all the recent bad news for Alberta’s economy, there could be no greater gift this holiday season than the gift of laughter. A win for Alberta Theatre Projects.

Alberta Theatre Projects’ Legend Has It runs November 24 – December 31, 2015.

Legend Has It was originally created by Rebecca Northan with Renee Amber, Bruce Horak, Mark Meer, and Jamie Northan.

For more information about the show, including how to purchase tickets, visit: http://atplive.com/whats-on/legend-has-it/

The Ensemble:
Josh Bertwistle
Christy Bruce
Bruce Horak
Ellis Lalonde
Jamie Northan
Rebecca Northan

 

Join The Club: MacIvor’s Inside Examines Modern Life

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The University of Calgary’s School of Creative and Performing Arts presents Inside by Daniel MacIvor. Photo Credit: Benjamin Laird Arts & Photo.

Canadian playwright Daniel MacIvor’s Inside is far from optimistic about modern life.

Directed by MacIvor, Inside stages nine characters whose lives are set to collide minutes before midnight at a high-end nightclub. The urban dwellers are hopelessly lost in a world disrupted by social media – a network of mirages. The authentic is bled dry for fame and followers; presence in the 21st century. The search for belonging in the age of Web 2.0 has led the characters to form difficult, and sometimes harmful, relationships.

MacIvor has adapted the play’s narrative and characters to suit the student actors cast in this production by the University of Calgary’s School of Creative and Performing Arts,. The collaboration makes for an interesting blend of cynicism towards modern life. At some points, the cynicism seems to come from a Millennial’s viewpoint while at other times from the viewpoint of Generation X.

Take for example, the young, self-loathing activist Todd (Brandon Huszti). Todd sees a lot of problems with his generation, particularly the rise of selfies and artifice. Todd wants his generation, and everyone else, to look up from their phones, and he plans on achieving that with his devices (that won’t hurt anyone, he claims). The thing about Todd’s objective is, the objective seems concerned with returning to some sort of idealised past that Todd has never known, but only studied – like a freshman enlightened after taking one Philosophy course.

Then, there is Sana (Keshia Cheesman) and her sister Kara (Onika Henry). Kara, a lawyer, believes the only way to create meaningful change is to go through the proper channels. Kara believes that working from the inside is the most effective way to make change happen, while Sana stands firmly beside her method of making noise from the edges. Sana’s stance is not surprising given her obsession with social media, particularly its capacity to affect the offline e.g. produce celebrities like Kim Kardashian.

Sana and Kara’s argument boils down to this, what is the effectiveness of social media campaigns like #BlackLivesMatter? The skepticism of Generation X towards the influence of digital campaigns, versus traditional ‘analog’ methods, is well represented in Kara. Kara sees her younger sister as being naive for thinking that action without presence could have any impact.

Another interesting thread running through MacIvor’s play is the friendship between Jeanie (Paige Thomas) and Violet (Bianca Miranda). The emotionally abusive Jeannie exploits Violet’s kindness in order to satisfy her own interests. While Violet recognizes that Jeannie is not very nice towards her, she also recognizes that Jeanie is her only friend. Jeanie and Violet’s friendship is very much an exchange, as opposed to something founded upon mutual respect. It is a very cynical view of friendship that MacIvor presents us.

It is unclear what exactly MacIvor wants the audience to take away from Inside. MacIvor points out a lot of flaws about modern life, specifically emotional disengagement, but does little in the way of providing possible solutions. MacIvor’s concern for this road we are traveling down together is essentially a series of observations and thin arguments that land heavy without much subtlety. The play’s unrelenting cynicism makes it difficult for the audience to identify a common ground with the characters. The finale ultimately proves unsatisfying as it ends on a cheap moment of optimism that begs to be taken seriously.

MacIvor tries bleeding the scenes into each other with club music and dance, but the transitions feel hard nonetheless. The narrative’s episodic nature interrupts the steady momentum he tries to sustain in this ensemble piece. Fortunately, there is not much to move during transitions (set design by Skylar Desjardins) as the actors only have to move tables and chairs.

Anton de Groot’s edgy lighting design with Alex Allan’s pulse pounding sound work transform the Reeve Theatre into a nightclub, the evening’s hub for misery.

Thomas is absolutely vicious as Jeanie, a young woman abusing her disability leave. The audience is nearly on the verge of hissing at Thomas as she cuts into Miranda’s heartbreaking Violet without remorse.

Cheesman plays Sana confidently, as does Henry with Kara. The pair demonstrate that the sisters are, more or less, two sides of the same coin, even if they think otherwise.

Nick Wensrich delivers an eerie performance that burns slowly as Mason, a former soldier disturbed what he saw on deployment. He brings out the character’s manipulative personality that lays deep underneath his guise as a total schmuck. Vanessa Jetté emotes well Audrey’s vulnerability as a reluctant prostitute, hired by Mason.

Dylan Forkheim plays the nightclub’s manager Brian with the sleaziness most, if not all, nightclubs attract, though Brian’s sleaziness is punctuated by sadistic tendencies.

Kris Vanessa Teo’s free-spirited performance as Todd’s girlfriend Mary is a strong and much needed contrast to her boyfriend’s pseudo-intellectualism, played well by Huszti. Miranda’s Violet, pregnant, and Huszti’s Todd, on the way to enact his plan, play a rather touching scene together in the second act where the merits of modern life are debated.

While the ensemble manages well enough with MacIvor’s script, issues and all, there is a strong sense that the ensemble could go further with their performances. The ensemble might benefit from a more intimate space, because here the Reeve Theatre feels somewhat vacant, lacking in presence.

Overall, MacIvor’s Inside leaves much to be desired in terms of a narrative worth investing in. Audiences will feel disengaged by this play steeped in cynicism towards modern life. An underwhelming production that strays far from the SCPA’s usual fare.

The University of Calgary’s School of Creative and Performing Arts’ production of Daniel MacIvor’s Inside runs Nov 24 – Dec 5 at the Reeve Theatre.

For more information about the show, visit: https://scpa.ucalgary.ca/events/inside

 

Stage West Throws it Way Back With ‘80s Solid Gold 2

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The cast of Stage West’s ’80s Solid Gold 2: A Musical Revue, performing Bobby McFerrin’s Don’t Worry, Be Happy. Imaged provided by Stage West.

The ‘80s are back! Think about it, Donald Trump is in the headlines again, and a Trudeau is Prime Minister. Add in Alberta’s slumping economy, as a result of low oil prices, and it’s almost like the 1980s never went away.

And what would the ‘80s be without all that great music from the ‘big hair, don’t care’ decade?

Written by Howard Pechet & Timothy French, ‘80s Solid Gold 2: A Musical Revue is a compilation of decade defining music. From the hard rock to pop ballads, and those guilty pleasures, the show is a mixtape for just about every ear.

On this musical journey presented by Stage West, the ensemble highlights important events from every year until 1989. Canadian sports trivia wins plenty hoots and hollers, while some trivia about Canadian politics – like Pierre Trudeau’s National Energy Program – elicits boos and jeers from the audience. The trip down memory lane is punctuated by humour that keeps the evening fun and light hearted.

In this show, colour is absolutely everywhere. In the background, large screens run eye-popping visuals that are reminiscent of early music videos. Bright, outrageous ‘80s fashion makes an appearance, geometric shapes and all.

The challenge for shows like this is, how do you keep a two-hour performance from going stale? French, the show’s director and choreographer, goes big and thinks outside the box. For the show’s Michael Jackson category, the ensemble takes turns playing the King of Pop, going from hit to hit, iconic dance move to iconic dance move, then settling into a unique arrangement of Michael Jackson’s songs. Then later, the men play out every ‘80s teenager’s dream of being a rockstar with songs like Van Halen’s Jump and Here I Go Again by Whitesnake. French’s choreography is a serious throwback to the ridiculous spectacle of ‘80s rock shows.

The cast engages enthusiastically with the songs and audience. The different impersonations of famous singers, like Paula Abdul and Janet Jackson, are almost nearly spot-on. Most importantly, though, the ensemble nails the diverse range of vocal styles showcased. The vocals are, unfortunately, hindered by the audio levels, which sound just a bit too sharp at times.

Overall, ‘80s Solid Gold 2 is a wildly entertaining night of everything 1980s. The audience has a blast singing and dancing, as much they can after a full meal, to the greatest hits of the ‘80s as compiled by co-creators Pechet & French. Audiences looking to recapture the spirit of the ‘80s will want to go see Stage West’s ‘80s Solid Gold 2: A Musical Revue.

Stage West’s ’80s Solid Gold 2: A Musical Revue runs Nov 13 – Feb 7, 2016.

Ensemble:
Tzeitel Abrego
Jahlen Barnes
Amber Bisonnette
Jeremy Carver-James
Christian Goutsis
Sarah Horsman
Erik Kopacsi
Andrew McGillivray
Katrina Reynolds
Antonette Rudder
Chris Sans

For more information about the show, including how to purchase tickets, visit: http://stagewestcalgary.com/80s-solid-gold-2-a-musical-revue/