Photo: Ain’t Seen Noth’n Yet
Music and lyrics by Richard M. Sherman and Robert B. Sherman
Book by Julian Fellowes
Additional music and lyrics by George Stiles and Anthony Drewe
Ain’t Seen Noth’n Yet (ASNY) Production
Directed by Jennifer Fontaine
By any standards, Mary Poppins is a complex project. Originally, she was the ideal nanny imagined by the British-born, Australian writer Pamela Lyndon Travers (aka Helen Lyndon Goff). Conjured up in her 1934 stories, she represented a form of escape from a difficult childhood. Then, the flying nanny became the sugarcoated heroine of the 1964 Disney movie, starring Julie Andrews and Dick Van Dyke.
In the 2004 stage musical, Julian Fellowes (of Downton Abbey fame) bases his book on a fusion of the Travers’ stories and the Disney movie, while George Stiles and Anthony Drewe added new songs to the original group by brothers Richard and Robert Sherman. (Continue reading » )
The opening night of The Colony of Unrequited Dreams at the National Arts Centre was attended by a who’s who of Newfoundland artists, Canadian politicians and journalists. It was appropriate of course as the play is an adaptation by Robert Chafe of Wayne Johnston’s novel that imagines what early influences might have created a character as enigmatic and colourful as Joseph Smallwood, the last father of Confederation and an enduring symbol of Newfoundland.
A work of fiction that speculates about the heart and soul of a very real character in Canadian history by blending history with invention makes for a compelling evening . It worked on every level. The characters both real and imagined are spellbinding. The dialogue crackles with the wisecracking wit that you find in the best of 40’s cinema. Chafe’s play makes me want to both read Johnston’s novel and discover more about this significant piece of history. (Continue reading » )
Photo: Paul Daly
In the Playwright’s Notes, the playwright, Robert Chafe, writes: “The history buff will have no trouble calling me out. But I made my primary task to reflect the spirit and heart of this magnificent book within the often-confining demands of a stage play.” That is exactly what he does. Hard, cold facts about Newfoundland’s first premier Joey Smallwood, and the role he played in bringing the Dominion of Newfoundland into Canada’s confederation can be found in any number of books. Chafe’s adaptation of Wayne Johnston novel Colony of Unrequited Dreams brings much more to the stage than that. It brings back the time, the place and people during a time of great change in Newfoundland. (Continue reading » )
Photo: Colin Furlong as Joey Smallwood. Credit: Paul Daly
Joey Smallwood, the diminutive guy who led Newfoundland into Confederation in 1949: with a subject like that, audience members for The Colony of Unrequited Dreams could be forgiven for fearing an evening of excruciating boredom.
They would also be proven dead wrong.
Adapted by Robert Chafe from Wayne Johnston’s celebrated 1998 historical novel of the same name, the play is an enthralling glimpse into the heart of the earnest and tenacious Smallwood, into the soul of his beloved Newfoundland, and into Smallwood’s complicated relationship with a caustic newspaper columnist named Sheilagh Fielding. (Continue reading » )
Photo Glenn Perry Tyrone scares Timothy
Hand to God is both a farce and satire of religion and suburban life in Cypress, Texas. First produced off-Broadway in 2011, its writer Robert Askins was an unknown working as a bartender with a few unsung off-off Broadway plays to his credit. Hand to God went to Broadway, became a tremendous hit, and received several Tony nominations. Now as it makes the rounds of the regionals, Boston’s SpeakEasy Stage Company is presenting its New England première.
(Continue reading » )
American Idiot, music by Green Day, lyrics by Billie Joe Armstrong, book by Billie Joe Armstrong and Michael Mayer, University of Ottawa Musical Theatre Society, directed by Storm Davis
American Idiot bursts onto the stage into the raucous noise of punk rock that one of the cast members says in her bio takes her back to her fifth grade grunge days. The 2010 musical is based on the 2004 concept album of the same name — incorporating protest against the war in Iraq, anger with American society and disaffected and angry youth trying to escape (from what?) to find a purpose in life.
The book (if that’s not too strong a word) for the very slight story line by lyricist Billie Joe Armstrong and Michael Mayer focuses on three young men — one who joins the army and is blinded, a second who fathers a child and drowns in alcohol and a third self-destructive would-be rebel whose father predicted he would never amount to anything.
The sing-through (shout-through) musical about dead-end lives and disappointment is surprisingly upbeat as presented by the University of Ottawa Musical Theatre Society. (Continue reading » )
Our Secret Life in a Dystopian World.
ArtsEmerson is presenting the American début of Our Secrets, written and directed by Béla Pintér. The widely acclaimed Hungarian troupe, appropriately called Béla Pintér and company, is taking Our Secrets to New York after its short Boston run. Performed in Hungarian with supertitles, the play addresses the power that the communist state had over its citizens. It takes place in the 1980s, a period when the government encouraged its citizens to revive Hungary’s folk songs and dances as an attempt to prevent the population from falling under the influence of Western popular music. Three musicians play a variety of string instruments and a synthesizer.
(Continue reading » )
Photo: Andrew Alexander . from left to right: Marc-André Charette, Emmanuel Simon, Gabriel Lalonde, Front: Annie Lefebvre, Leah Archambault, Mekdes Teshome.
How could one name this performance that is now running at the Gladstone?? It could be docudrama; it could be multi-disciplinary theatre; it could be corporeal theatre although the text is central to the event; it could be verbatim theatre, or even socially engaged theatre that goes for the jugular as it tries to transform our culture in the same way R. Schechner and J. Beck in the 1970’s hoped to do with their political and ritual performances. Perhaps, it also wants to make people aware that many individuals are living in a “war zone” when it comes to sexual violence in our society. In fact it’s a bit of all that. A huge agenda that might seem almost overwhelming for director Jessica Ruano who also wrote the script, for the choreographer who conceived the movement portions, and for the actors who had to shift moods, narratives and characters nonstop during 75 minutes!
(Continue reading » )
Photo: Andrew Alexander
In the Director’s notes of The Ghomeshi Effect’s program, director Jessica Ruano states: “…safety isn’t often what I’m seeking at a night out at the theatre…curiosity can be dangerous. Curiosity means: I’m prepared for anything, even if it’s not what I want to hear. Even if it upsets me. Even if I fundamentally disagree. Even if it challenges something I’ve believed for as long as I can remember.” The Ghomeshi Effect is a much needed addition to the conversation about sexual assault and has already sparked conversation over the treatment of survivors by the justice system. (Continue reading » )
Pour deux soirs seulement, la création acclamée par la critique et le public F**KING CARL revient à La Nouvelle Scène Gilles Desjardins.
de Louis-Philippe Roy et Caroline Yergeau
une production du Théâtre du Trillium
du vendredi 3 février au samedi 4 février 2017 à 19 h 30
dans le Studio B
Il y a eu une annonce sur Kijiji, une couple (de caisses) de bières, des Monster Trucks, des « festivaux » et un forain. Ça a donné un couple. Un couple mis devant une simple question : « Pourquoi pensez-vous être une bonne famille pour accueillir un enfant? ». F**k…
Ne ratez pas votre chance de voir « l’une des meilleures créations jouées sur les planches de l’Ontario français ces dernières années. » [revue Liaison #173]