Theatre Seen

by James Fagan Tait
Directed by Sherry Yoon
Squamish Reserve #6, under the Burrard Street Bridge B
oca del Lupo
August 10 - 25

Vancouver, BC: Viewed from the sandy, stone-strewn ground below the Burrard Street Bridge, the weathered concrete columns and supporting arches of the 75 year old bridge look as ancient as Notre Dame de Paris, the Gothic cathedral around which Victor Hugo centered his novel. The rumble of cars crossing overhead, punctuated by the occasional roar of motorbikes, did not suppress the excited buzz of the crowd, waiting for the start of Boca del Lupo's latest outdoor, roving spectacular, Quasimodo.


The Shape of Things
by Neil Labute
Directed by Sabrina Evertt
Waterfront Theatre
August 22 – September 1
Twenty Something Theatre

Vancouver, BC: Take two seemingly unrelated questions - what moral values lead to destructive human relationships? And what aesthetic values define art? - combine through the unforgiving pen of playwright/ director, Neil Labute, and you get the edgy disturbing play, The Shape of Things, that previewed last night at the Waterfront Theatre, on Granville Island.

The setting for the play is a liberal arts college in a Midwestern town. Evelyn (Julie McIsaac) is an art student working on her thesis for her MFA degree. Adam (Joel Sturrock) is a shy, awkward, English literature student, working as a part-time security guard at a local museum jobs to get by. They meet when Evelyn, attractive and aggressive, challenges Joel to stop her from defacing one of the exhibits. This encounter leads to an affair during which Evelyn becomes the dominant figure in Adam's world, reshaping his person, his attire and his friendships. Phillip (Jon Lachlan Stuart) is Adam's ex-roommate, now engaged to Jenny (Lisa Aasebo). Jenny harbors an unexpressed attraction for Adam. Over time, Evelyn's machinations alienate Adam from Phillip and Jenny, and destroying their relationship as well.

Music and lyrics by Stephen Sondheim, Book by George Furth
Directed by Bill Millerd
Music direction - Bruce Kellett
Choreography - Valerie Easton
Stanley Industrial Alliance stage
September 13-Oct 14, 2007
Arts Club Theatre Company

Vancouver, BC: Among my CD collection of Broadway musicals, one of my favorites is the original London cast recording of "Company". However I had never seen "Company" performed so it was with great anticipation that I headed off to the Stanley for opening night of the show. And the production lived up to my expectations thanks to a terrific, high energy cast, who sang Sondheim's clever, acerbic lyrics so clearly that I could hear and savour every word. Well, almost every word except for the thousand word a minute "Getting Married Today" brilliantly performed by Tracy Neff.

This musical first opened on Broadway in 1970, but Sondheim's observations and acerbic commentary on married life bite as sharply as they did almost 40 years ago. The storyline loosely revolves around Robert (Bob, Bobby, Robbo), (Matt Palmer) a 35 year old New Yorker who can't seem to commit to a steady relationship, never mind actually get married. But not to worry, because he is never at a loss for company with his good friends, 5 married couples who want to marry him off. Hmmm... Then where will they get a man for the extra place at their dinner parties? Bobby also is April, (Cailin Stadnyk), Kathy (Debbie Timuss) and Marta (Alison MacDonald).

Vancouver, BC. "The evil that men do lives after them." For me the standout show at this year's Vancouver International Fringe Festival was "Timekeepers" from Ocean of Sugar Productions, Tel-Aviv, Israel. A well crafted, beautifully performed 70 minute drama, it moved me to tears at several points. Set in Sachsenhausen concentration camp in Nazi Germany, Timekeepers tells the story of three men whose lives intersect at a point in time when men in a supposedly cultured and civilized country committed unspeakable acts of evil against other human beings. Benjamin is an elderly, Jewish horologist from Berlin. He has survived so far through his skill at repairing watches, but does not know the fate of his wife and his young son and daughter. He wears the yellow star that brands him as a Jew. Benjamin is a conservative family man. Hans is a young German homosexual, who has been deserted by his lover who managed to get out of Germany. Hans wears the pink triangle that brands him as a homosexual, another group targeted by the Nazis. Thanks to a new lover with some influence in the camp and lying about his skill as a watch repairer, Hans is assigned to work in the repair shop alongside Benjamin. The third man is a Kapo, a brute who terrorizes the other two men while they remain under his control. He wears the green triangle that brands him as a criminal.

Timon of Athens
Directed by James Fagan Tait
Studio Stage Vanier Park
To September 20th, 2007
Bard on the Beach

Vancouver, BC: Timon of Athens is one of Shakespeare's lesser known plays and not often seen on stage. This production directed by James Fagan Tait is innovative and compelling in its use of choreography and sound. Tait adopts a minimalist approach to staging. A giant white tablecloth covers the stage for Act I and chairs are the only props. In Act 2 the stage is bare and the surface is unbroken save for Timon's cave.

The striking opening sequence with the cast in dark business suits sets the tone for this excellent production. Timon is an oddity among Shakespeare's plays in that it has a single uncomplicated storyline and a protagonist who has been described as more cartoon than character. Timon is a wealthy Athenian gentleman who is so "generous" that he gives away all his wealth. Finding himself in debt, he expects that the "friends" who have enjoyed his patronage will help him out. Surprise, surprise - they don't. Bereft of everything, he leaves Athens and goes off to live in a cave outside the city.

Vancouver, BC: Well it is two for two so far for Bard on the Beach Main Stage this year. Both Romeo and Juliet and The Taming of the Shrew provide great evenings of entertainment. Director Dean Paul Gibson's contemporary view of Romeo and Juliet had some really interesting interpretations both in character and in staging so there was plenty to talk about on the drive home – always a sign of good theatre to me. 

For example, I have often wondered in other productions why Juliet's nurse, usually played as a staid, grand-motherly type, would aid and abet Juliet in her headlong rush to marriage. Those actions of her nurse usually require a major suspension of disbelief. To digress for a minute – Friar Lawrence's wonder drug that allows

Juliet to feign death so realistically that no one suspects she is just in "hibernation," has also always required firm suppression of my scientific thoughts. Does such a drug exist? Anyway if it did, today with electroencephalograms, electrocardiograms, echocardiography and blood gas analyzers, it would be pretty difficult to fool anyone by playing dead.  

Review by Amanda Lockitch

The Importance of Being Earnest by Oscar Wilde.
Directed by Ben Barnes.
June 3 - September 2, 2006.
Soulpepper Theatre Company.
Young Centre for the Performing Arts, 55 Mill Street, Building 49
Ph: 416.866.8666

TORONTO ON. - “The only excuse for making a useless thing is that one admires it intensely. All art is quite useless.” Oscar Wilde

First produced in 1895, Oscar Wilde’s The Importance of Being Earnest hinges on Wilde’s extraordinary use of language. Marriage and mistaken identity, unknown parentage and social mores abound in this farcical romp where everything ends in a happy, neatly coiled bow. The humor comes almost exclusively from the way these characters manipulate and embrace conversational cleverness.

Soulpepper delivers an admirable production, but somehow the awe that I have come to expect from a Soulpepper show seems lacking. Despite being over two hours (with two intermissions) the play clicks along quite speedily, yet it comes just shy of the speed necessary for such rapier wit.

Review by Amanda Lockitch

Ten Days On Earth by Ronnie Burkett
CanStage at Berkeley,
26 Berkeley St., Toronto
to June 24, 2007

TORONTO, ON - When I saw my first Ronnie Burkett Theatre of Marionettes production I quietly asserted that I never wanted to miss another of his shows. And, happily, I haven't.

While 10 Days On Earth, textually, does not pack quite the punch for me that, for example, Provenance did, Burkett's mastery is undeniable. For those of you who are unfamiliar with his work, he not only writes and performs; he designs, sculpts, constructs, costumes, speaks for and physically manipulates dozens of marionettes per show. But this is not children's theatre. Far from it.

10 Days On Earth follows Darrell, a mentally challenged young man who does not realize that his mother is slowly decomposing in her bedroom of the house they share. For ten days he goes through his routine of work and daydreams until he begins to question the truth.

It is often the mistakes made which give live theatre its supercharged boost. When the strings got tangled on one puppet the night I saw the show, it turned into one of the loveliest and most unforgettable moments. Burkett paused, rubbed his face, laughed, and looked out at the audience with a "of course tonight" shrug. This was, of course, the night when the audience was filled with theatre academics, actors, writers and directors who were attending a conference at York University where Burkett had spoke just that afternoon. A more critical and perhaps understanding audience could not have been found.

Arabian Nights by Roland Schimmelpfennig
Translated by David Tushingham
Directed by Del Surjik
Performance Works till June 2nd
Pi Theatre and Axis Theatre Company

Vancouver, BC: In the course of a recent, somewhat spirited discussion of contemporary theatrical genres, it was suggested that I was rather strongly Aristotelian in my appreciation of drama. That is for me, Mythos (plot), Ethos (character) and Dianoia (thought or theme) always trump Opsis (spectacle). Arabian Nights is the second play this month (the other being The Andersen Project - see Rants, Raves and Reviews May 21st) which kept me musing about the dichotomy of plot versus spectacle.

Arabian Nights is the work of a prolific young German writer, Roland Schimmelpfennig, translated by dramaturge, David Tushingham. The play is a fantastical dance through the haunted dreams of Franziska Dehke (Sasa Brown) and the painful memories of Hans Lomeier (Kevin Williamson). Lomeier, is the caretaker of an apartment complex which mysteriously loses its water supply above the seventh floor, where Dehke and her room-mate, Fatima (Yasmin Abidi) share an apartment. Fatima awaits the arrival of her boyfriend, Kahlil (Craig Veroni) who, nightly, roars up on his moped to visit her, but is never seen by the sleeping Franziska. The fifth member of this odd assortment of characters is Peter Karpati (Peter Wilson) who is drawn into the apartment after spying Franziska in the shower and who ends up mysteriously inside a brandy bottle. An interesting note is that the brandy bottle which makes a dramatic appearance at the conclusion of the play, is the only prop used in this show.

The Andersen Project
Written, produced and directed by Robert Lepage
Vancouver Playhouse until May 27th
Playhouse Theatre Company
and Theatre la Seizia me

Vancouver, BC. Sometimes when I arrive home after a show and head for my computer to write this column, words flow easily regardless of the hour. At other times I feel blocked. I suspect that this occurs when the rational/ objective part of my head clashes with my emotional/subjective reactions. So it was with The Andersen Project. So here I am still thinking about it several weeks later.

I usually think of myself as reasonably articulate and possessed of a sizeable vocabulary but as I followed the buzzing throng out of the Vancouver Playhouse auditorium after the opening night performance of The Andersen Project, the word that kept bouncing around in my head was "wow". Not the most sophisticated commentary perhaps, but understandable. The "wow" factor was obvious all evening from the enthusiasm of Playhouse Artistic Director, Glynis Leyshon, as she introduced this North American premiere of the English version of The Andersen Project, to the lengthy standing ovation for Robert Lepage and his company. And the "wow" reaction was still with me when I got home, and I couldn't seem to get beyond it until now.


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