March, 2017

Marion Bridge: much emotional baggage makes for a dreary drama

Reviewed by Iris Winston

Marion Bridge by Daniel MacIvor; director: Chantale Plante; a production of the  Ottawa Little Theatre

Carrying a lifetime’s worth of baggage, three sisters of a very dysfunctional family are brought together by imminent death. As their mother lies dying, each of the three reveals her insecurities, resentments, memories and false memories and periodic hostility towards the others and their parents.

Each sister is deeply flawed and hides from the world in her own way. Agnes fled from her Cape Breton home to an unsuccessful acting career in Toronto. Her other escape is alcohol — her mother’s choice towards oblivion, too. Meanwhile, the ‘good’ middle sister, Theresa, now having a crisis of faith, chose the nun’s veil and farming as her escape route, while youngest sibling, Louise — the only child still living at home — sinks into daytime television soap operas and love of automobiles. (more…)

The Associates/Les Associés : Fine evening of dance performance!

Reviewed by Alvina Ruprecht

Echo by Christopher House
(The Associates)

It is easy to understand how dance is at the forefront of all performance because it is constantly pushing the boundaries of the human body, investigating the relationship between the human body and the possibilities offered by all technologies involved in spacial creation, transforming the relationship between the text and the body. We are so lucky that the Director of Dance at the NAC has the courage to bring us programmes that may not always be easily understood but that help and have always contributed to forming a demanding dance public in Ottawa.

Marie Chouinard has always been synonymous with extreme originality on the Quebec dance scene and her work seems to be a constant investigation into the anthropological sources of the human being. Emerging from the green greasy Uhrschleim of creation, ritualized movements that take us back to pre-western civilization,(not unlike Romeo Castellucci!) her dancers now propel us into new relations between the human animal and our current technological revolution.

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A Man Of No Importance scores high at the Gladstone

Reviewed by Jamie Portman

Photo: Patrick Whitfield

It’s a pity that A Man Of No Importance is having such a brief run at The Gladstone, given that it is such a touching yet ultimately joyous experience.

Indie Women Productions have delivered a stand-out production of this award-winning 2003 Broadway musical about a lonely gay Dublin bus conductor who worships the works of Oscar Wilde.

It is a lovely, lovely show, graced by a solid acting ensemble headed by the ever reliable Shaun Toohey as Alfie Byrne, the amiable good-hearted transit man who’s given to entertaining his passengers with recitations of poetry during their daily transport.

A Man Of Importance began as a 1994 film starring Albert Finney as Alfie. Its transformation into a stage musical proves to be remarkably successful, thanks to an observant, witty and at times emotionally wrenching book from Terrence McNally, who is far more at home with this subject matter than he was with Catch Me If You Can, the show recently mounted in Ottawa by Orpheus. And the beguiling songs, which arise naturally from the dramatic material and run a gamut of emotions, are supplied by Stephen Flaherty and Lynn Ahrens, the proven team who gave us Ragtime. (more…)

A Man of No Importance, an engaging delight.

Reviewed by Iris Winston

A Man of No Importance Book by Terrence McNally Music by Stephen Flaherty Lyrics by Lynn Ahrens Directed by Maxim David indie women productions

Part of the charm of A Man of No Importance is its modesty. Almost reflecting the tone of the title in its approach, the award-winning chamber musical is gently low-key, gradually working its way into unfolding a moving story about a bus conductor in 1960s Dublin.

With book by Terence McNally, music by Stephen Flaherty and lyrics by Lynn Ahrens, the 2002 musical is based on the 1994 movie of the same name, starring Albert Finney as bus conductor Alfie Byrne. Byrne escapes his internal conflict and his mundane daily routine through his love of the works of Oscar Wilde — his role model — and his determination to mount a production of Wilde’s Salome in St. Imelda’s church hall (a most unsuitable location for a script that shocked from the outset and would certainly offend conservative Catholic sensibilities in 1960s Ireland.) (more…)

Rosencrantz & Guildenstern are Dead : the National Theatre Live at the Old Vic

News from Capital Critics Circle

ROSENCRANTZ & GUILDENSTERN ARE DEAD – National Theatre Live from The Old Vic
April 20, 2017 (Live), and May 27, 2017, Coming to Cineplex theatres in Ottawa!
Directed by David Leveaux; Starring Daniel Radcliffe, Joshua McGuire, David Haig

Daniel Radcliffe (Harry Potter, Equus), Joshua McGuire (The Hour) and David Haig (Four Weddings and a Funeral, The Witness for the Prosecution) star in Tom Stoppard’s brilliantly funny situation comedy, broadcast live from The Old Vic theatre in London. David Leveaux’s new production marks the 50th anniversary of the play that made a young Tom Stoppard famous overnight.

Set against the backdrop of Hamlet, two hapless minor characters, Rosencrantz and Guildenstern, take centre stage. As the young double act stumble their way in and out of the action of Shakespeare’s iconic drama, they become increasingly out of their depth as their version of the story unfolds.

Derek Walcott, a Mighty Poet, Has Died- by Hilton Als (The New Yorker)

News from Capital Critics Circle

Derek Walcott, a Mighty Poet, Has Died
By Hilton Als March 17, 2017

Walcott’s poems explored, among other themes, the sea, memory, and the joys and terrors of physical love.
Derek Walcott was a complicated person and a great poet, and often those things are not divisible. The time I spent with him and his beautiful German-born partner, Sigrid Nama, in Derek’s native St. Lucia changed my life in ways that extended past the New Yorker Profile I wrote in 2004. I felt as though I had always known him—not known him, exactly, but seen him, been in his aura, his history, because, like my father, Derek was the product of a profound world, a distinctly Caribbean world with its history of colonialism and its imperceptible change, and home to so much more, including mothers who spared no amount of love to make you understand that you were their bright boy. Derek’s mother, Alix Maarlin, a schoolteacher, helped him publish his first poems, and it was the light of that first love that Derek always stood under; it made him shy about intimacy, while closeness was something he always sought. The first Mrs. Walcott believed in him with a pride that eclipsed the great honor of his 1992 Nobel Prize for Literature because she was the first to say, if only in her mind: “Why not be Shakespeare?” Anything was possible, and where you were from was just part of the story. (more…)

The Marriage – An Impossible Event by N. Gogol

News from Capital Critics Circle

The public is encouraged to see this play by Nikolaï Gogol at the University of Ottawa.
directed by Nicholas Leno (MFA Candidate)
A production of the Unicorn Theatre
Tuesday, March 28th to Saturday March 25, 2017 at 8 p.m. ithe Academic Hall, 133 Séraphin-Marion

Please reserve: by email at: Secretaire.Theatre.Secretary@uottawa.ca
or by phone at: 613 562-5761 between 9:00 a.m. and 5:00 p.m.

Catch Me If You Can: Well Worth Catching

News from Capital Critics Circle

Photo: Orpheus Musical Society

Guest Critic: Jim Murchison
Frank Abagnale Jr is a famous con man who eluded police authorities for years. He is well known because of the film version of Catch Me If You Can  and for his books including one appropriately titled The Art of The Steal. This  play with book by Terrence McNally, music by Marc Shaiman and lyrics by Scott Wittman & Marc Shaiman is largely true. It is at times a game show,  Film Noir,  and a night club act, with a hint of Dragnet thrown in. It is necessary to be as chameleonic as it’s antihero. While the tale doesn’t have the depth or social impact of some tales it is an entertaining story of a fascinating con man who evolved into someone better and used his talent for artifice for a better purpose.
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BRIGITTE HAENTJENS REMET SON PRIX DU GOUVERNEUR GÉNÉRAL À CINQ JEUNES CRÉATEURS

News from Capital Critics Circle

Le 15 mars 2017 – OTTAWA    Brigitte Haentjens est lauréate du Prix du Gouverneur Général pour les arts du spectacle 2017. Elle a décidé de remettre son prix d’une valeur de 25 000 $ à cinq jeunes créateurs. (more…)

Catch Me If You Can: Orpheus shines with inferior material

Reviewed by Jamie Portman

Photo: Orpheus Theatre

Catch Me If You Can is a trifle of a musical based on a trifle of a movie from Steven Spielberg. It’s scarcely worth doing, but it is redeemed somewhat by Orpheus Musical Theatre Society’s ability to make a silk purse out of a sow’s ear.

The production currently at Centrepointe features deftly staged musical numbers, performances that manage to engage, and a rollicking narrative thrust. In other words, it’s good enough to make you forget, at least temporarily, how hollow the material really is. (more…)

Past Reviews