Reviewed by Iris Winston
By Jayson McDonald
Director: Dave Dawson
In Novel House, a family named Novel lives through the highs and lows of daily life, while family patriarch James Novel, a former greeting-card writer, attempts to write the great Canadian novel with a quill pen. The subject matter of said novel is his family. Therefore, James periodically steps out of the action to address the audience. Meanwhile, his ditzy wife, Mary, floats back and forth, incompetent but full of love for her family, and James’ crazy father, Geoffrey, lives through his memories and the ghosts of his past, personified in small appliances and lamps. (Don’t ask.)
Meanwhile, the relatively normal daughter of the house, Rebecca, introduces Thomas, the love of her life, to her parents and grandfather. Closest to a through line in Novel House is the course of the young couple’s romance and future, which follows their engagement, marriage, loss of their first child, separation and reconciliation. And the most — actually, the only — moving moments of this Blacksheep Theatre production are during the well-executed reconciliation between Rebecca (Whitney Richards) and Thomas (Tony Adams). (more…)
October 23, 2016 Sunday at 6:53 pm
Reviewed by Patrick Langston
The Novel House
By Jayson McDonald
Black Sheep Theatre at The Gladstone
That’s the question about Black Sheep Theatre’s misguided production of Ontario playwright Jayson McDonald’s tiresome family drama Novel House.
The plot – contrived and coy when it’s not simply inert – finds the jaunty writer James Novel (William Beddoe) working on – wait for it – the great Canadian novel in his rambling, leaky and apparently ghost-riddled home called Novel House. For reason that eluded at least me, Novel is writing his masterwork with a quill pen even though the setting is present-day.
We the audience are apparently reading the novel as he writes it. This allows him to address us directly from time to time before stepping back into the action of his novel which, if it tells the story of his and his family’s collective life, may not be a novel at all. Assuming you care to plumb things to that depth.
James’s wife Mary (Alexis Scott) is an annoyingly fidgety scatterbrain, but one who loves her husband and adult daughter Rebecca (Whitney Richards, who brings a welcome freshness to this dank show). There’s a cutely weird grandfather (James’ father Geoffrey, played by Jeffrey Lefebvre) who talks to a lamp and hangs out in a wardrobe (one keeps hoping he’ll be whisked away permanently to Narnia). Also on the scene: Thomas Winding, an earnest, whiny kind of guy played by the able Tony Adams, who marries Rebecca, almost fathers a child and does other stuff. (more…)
October 22, 2016 Saturday at 3:22 pm
Reviewed by Kat Fournier
The Fresh Meat Festival returns to Arts Court theatre for its fifth instalment. Were an unsuspecting audience member to stumble upon this event, it’d be one for the books. Fresh Meat is for fearless audience members who are looking for a taste of the experimental, unhinged and up-and-coming. The festival distinguishes itself as one that presents unbridled artistry from local theatre makers in the early stages of their careers. That these works are unpolished and presented with minimal set or costuming only adds to the atmosphere; the DIY aesthetic is met by truly experimental performances by Ottawa’s next generation of creators.
The Fresh Meat Festival runs two weekends, the second of which kicked off on Thursday October 20. During the second weekend of Fresh Meat 5, five shows run the gamut of theatrical styles, from self-reflective storytelling, to scripted sketch comedy, physical comedy and more. Across the board, the performances are comedic in nature. That’s where the comparison ends.
The evening opens with a performance by the winners of the 2016 Prix Rideau Awards for Outstanding New Creation for their 2016 Ottawa Fringe offering, Rideshares and Ropeswings. Catch Matt Hertendy and Matthew Venne’s succeeding show, Boy vs. Chair at Fresh Meat 5. The show is a disorienting stand-off between a man in a propeller hat and a not-so-inanimate, black chair. It’s a kind of parody of the common narrative convention that “things are not what they seem,” delivering to its audience a silly, peculiar and awkward story that is more rooted in the physical comedy of the two performers than it is in making itself understandable. What starts as a power struggle soon becomes a Bop-It! duel, then a reconciliation, then a choreographed pas-de-deux. Just kidding, they obviously aren’t dancers. Hertendy and Venne are advantaged by their awkward physical presences on stage, and this show will undoubtedly give you the giggles. (more…)
October 22, 2016 Saturday at 3:15 pm
Reviewed by Iris Winston
Dial M for Murder
By Frederick Knott
Ottawa Little Theatre
Director: Margaret Harvey O’Kelly
When amateur theatre becomes amateurish, even a carefully constructed play suffers under the strain. Sadly, this is precisely what happens with Ottawa Little Theatre’s production of Frederick Knott’s 1952 drama Dial M for Murder.
Among the clues that this thriller is unlikely to thrill are the numerous lighting miscues that frequently draw laughter from the audience, awkward pauses and embarrassing silences that are the result of one of the actors forgetting his lines and the slow set changes. Further clues that the production is not working are a lack of apparent chemistry between the heroine and her erstwhile lover and the declamatory style of the villain of the piece.
All this is particularly depressing in the light of the obvious effort that is behind ensuring the accuracy of the period costuming by Gillian Siddiqui and the set design by Robin Riddihough.
More of a will-he-get-away-with-it than a traditional whodunit, Knott’s script is probably best remembered as the 1954 movie starring Grace Kelly and Ray Milland. And more than 60 years later, it can still work on stage as a recent production by the Perth Classic Theatre Festival demonstrated. (more…)
October 21, 2016 Friday at 7:12 pm
Reviewed by Patrick Langston
The fifth annual Fresh Meat festival of local, DIY theatre features ten, 20-minute shows by established and emerging artists. The emphasis is on testing new ideas in front of audiences. Some past Fresh Meat shows have gone on to bigger venues including the undercurrents festival and the fringe circuit. The following opening night shows comprised the festival’s first of two weekends.
Space Jameration (Greg Houston Comedy). Houston is a stand-up comic eager to transition into more theatre-based performance. He’s not there yet. His autobiographically based piece, quite witty at times, hovers in a no-man’s land between stand-up and storytelling. Houston seems to know he’s not yet where he wants to be artistically, and his discomfort intrudes on the performance.
S.S. Lightbulb (Second Step). Three bumbling electricians are tasked with repairing an out-of-commission lighthouse during a storm at sea. They demonstrate zero technical competence, cower in fear at nature’s fury, and are shaken when they realize the danger that those at sea face. It’s an inconsequential show by emerging performers who love physical theatre but S.S. Lightbulb manages to remain mostly amusing and well-timed. (more…)
October 15, 2016 Saturday at 9:04 pm
News from Capital Critics Circle
OTTAWA, October 12, 2015 – The Capital Critics Circle announced the nominees for the seventeenth annual English-language theatre awards for plays presented in the National Capital Region during the 2015-2016 season.
The nominees are: (more…)
October 13, 2016 Thursday at 8:04 am
Reviewed by Patrick Langston
Passion is all well and good, but too much of it wears pretty thin pretty fast. And too much is the central problem with David Whiteley’s adaptation of Shakespeare’s much-loved Romeo and Juliet.
Taking a cue from Peter Sellars’s chamber play version of A Midsummer Night’s Dream mounted at Stratford in 2014, Whiteley, who also directs, has boiled the tragic tale of young love and feuding families down to 80 minutes. For the most part, he’s cherry picked the play’s most intense moments – for example, falling in love, dust ups, and death scenes – and further distilled the play by using only four actors. The action takes place on a bare stage surrounded by white fabric, the stark minimalism of the set presumably meant to further focus our attention on the play’s emotional high points (Whiteley credits much of the set design to The Night Room by Winnipeg’s now-defunct Primus Theatre).
The problem is, with the connecting tissue between all those intense moments largely stripped out, the show feels like a synopsis set at a high boil. The storyline is well enough known that one can follow along, but what we see and hear are parts of a whole which signal too clearly that they are just parts.
There are other issues. (more…)
October 11, 2016 Tuesday at 12:11 pm
Reviewed by Jane Baldwin
Dublin’s renowned Abbey Theatre has brought a modernized production of Sean O’Casey’s four act drama The Plough and the Stars to the American Repertory Theatre. In keeping with today’s conventions, it is played as four scenes with one intermission. First performed in 1926, ten years after the Easter Uprising when outnumbered Irish nationalists attempted to drive out the British, the play deals with the horrors and uselessness of rebellion by showing its effects upon the working poor.
Seven of The Plough and the Stars’ fourteen characters are tenants of a rundown tenement where the play begins and ends. Nora (Kate Stanley Brennan) and Jack Clitheroe (Ian-Lloyd Anderson) are a young married couple whose financial circumstances are better than their neighbors because they are able to rent out a room in their flat to Jack’s communist cousin the Young Covey (Ciará O’Brian), and Peter Flynn (James Hayes), Nora’s uncle. Nora, in particular, has middle-class ambitions, as seen by her fancy hat and demeanor. Mrs. Gogan (Janet Moran), the second floor tenant is a gossipy widowed charwoman with a young tubercular daughter and baby. She is jealous of Nora’s attractiveness and comfortable life. Unlike the other women, Nora does not work. Mollser (Rachel Gleason), the sickly girl on the verge of death, is symbolic of society’s neglect of the impoverished. Bessie Burgess (Hilda Fay) is the third-floor neighbor, a tough Protestant Unionist and fruit vendor, often at odds with Mrs. Gogan. As the play draws towards its end, we see Bessie’s compassion.
Scene two takes place in a pub where the audience is introduced to the bartender (Ger Kelly) and the prostitute Rosie Redmond (Nyree Yergainharsian). Despite Rosie’s good looks and flirtatious manner, she has no customers. Most of the neighborhood men have gone to a meeting of the Irish Citizen Army. When the Covey enters, she tries to seduce him, but he runs off in fear. In 1926 Dublin, this scene was a shocker. After the meeting, the men enter the pub. Rosie finds a client in Fluther (David Ganly), a neighborhood carpenter, and they leave together. Jack forsakes his pregnant wife for the independence of Ireland. As he tells his soldier buddies, “Ireland is greater than a wife.” (more…)
October 5, 2016 Wednesday at 11:08 am
Reviewed by Iris Winston
Review of Spring Awakening: The Musical
Spring Awakening: The Musical
Book and lyrics by Steven Sater
Music by Duncan Sheik
Based on the play by Frank Wedekind
Orpheus Musical Theatre Society
Much of the subject matter of Spring Awakening — both the original play and the musical — make Philip Roth’s once-controversial novel Portnoy’s Complaint seem comic-book light.
Playwright Frank Wedekind wrote Frühlings Erwachen (Spring Awakening) in 1891, attacking German bourgeois society for its repressive attitude, particularly towards young people. The play — originally sub-titled A Children’s Tragedy — was considered scandalous because of its explicit sexual content and was banned on publication. Another 15 years passed before it appeared on stage in Berlin.
The content makes it an even more unlikely subject for a musical — even a rock musical — than Sweeney Todd by Stephen Sondheim and Hugh Wheeler. However, both were Tony Award winners, Sweeney Todd in 1979 and Spring Awakening in 2006. The musical, with book and lyrics by Steven Sater and music by Duncan Sheik, also won Drama Desk and Olivier awards.
Yet, even in the sexually liberated west in 2016, the content remains controversial. The portrait of the uncomfortable transition from adolescence to adulthood offers simulated heterosexual intercourse/sexual assault, suggested male masturbation, wet dreams, a little sado-masochism, a short homosexual love scene, a back-street abortion and references to sexual and physical abuse and abandonment. All this is capped off by the deaths of two of the principals, one by suicide and the other because of a botched abortion. (more…)
October 2, 2016 Sunday at 5:25 pm
Reviewed by Jamie Portman
The final moment of Bear and Company’s production of Macbeth tells all. That’s when cast members assemble on the stage of the Gladstone Theatre and embrace sunny ways with a beautifully sung choral rendition of the sentimental Skye Boat Song. This as a climax to one of the bloodiest plays in the Shakespearean repertoire? Ironically, the lyrical musical interruptions — bizarre though they be — provide the evening with its best performed moments. Unfortunately, they have absolutely no relevance to Shakespeare’s blood-soaked tragedy.
Yes, we’re still getting the stuff of nightmares here, but they have nothing to do with the play itself and everything to do with Eleanor Crowder’s haphazard production. It’s an offering which has been on view this past summer in outdoor performances. But its transfer to a proper indoor venue does not sanctify legitimacy. This is not serious Shakespeare. Unless audience members already know the play, it’s doubtful whether they’ll have any idea of what’s going on. And if they do know the play, they may still be bewildered as a result of the cuts made to the text, the failure to bring even the most famous scenes into dramatic focus, and by a largely female cast playing a variety of roles. Stratford threw some gender-neutral casting into its 2016 production
of Breath Of Kings — a move that was the least satisfactory feature of an otherwise outstanding piece of theatre. Those who endorse the practice seem to think they’re making some sort of politically significant statement; others more sensibly may see it as a pointless need to be trendy. Eleanor Crowder’s director’s notes for this Macbeth argue that in the world of the play, women’s power “is clandestine but not pervasive” and that this production plays with that reality.
“Where the Queen’s Men dressed men to play women, we do the reverse.” Hence we have Duncan, the doomed King of Scotland, portrayed, not as a venerable ancient, but by Zoe Georgaras in the manner of a precocious schoolgirl. To be sure, there has been a move to more youth-oriented productions of the Scottish play in recent years, but this casting seems extreme. It ultimately doesn’t convince. That being said, the undeniably talented Georgaras remains the most watchable performer on stage, especially with her amusing cameo as Seyton the complaining porter. But you were also wishing you were instead seeing her in a role that would really suit her — as Puck in A Midsummer Night’s Dream or as Ariel in The Tempest, a part she has performed elsewhere. (more…)
September 30, 2016 Friday at 12:31 pm