Ibsen Huis, Avignon 2017
Photo. Christian Raynaud de Lage.
Ibsen Huis (La Maison d’Ibsen) Directed by Simon Stone, dramaturgy and translation by Peter van Kraaij, set design by Lizzie clachan, a production by the Toneelgroep Amsterdam
Ibsen Huis is an homage to the genius of Henrik Ibsen, the first European playwright to study the complex intricacies of human psychology and behaviour, conditioned by our follies, indulgences, and failures. However, the play is neither a simple staging of one of Ibsen’s plays, nor is it a modern adaptation. This is a new script and production inspired by Ibsen’s characters in conflict. Created and written by the director Simon Stone and the members of this company hand-picked for this project, Ibsen Huis tells a story of the modern dysfunctional family, through the 50-year span of its history. (Continue reading » )
You may never look at a shipping container the same way after seeing Old Stock. Starring Halifax singer-songwriter-actor Ben Caplan, a luxuriantly bearded lad with a grand voice and a remarkable flair for entertaining, the music-play hybrid opens with a closed shipping container at centre stage.
As blandly anonymous on the exterior as any container, this one swings opens to reveal a four-piece band and the intimate story of two early-20th-century Jewish refugees who fled from Romania to Canada – refugees who are played by a couple of the musicians.
When the show’s over, the container doors close and your own life goes on, richer for what you’ve seen and heard. It’s a wonderful conceit for a set, this shipping container from who knows where. Designed by Louisa Adamson, Christian Barry and Andrew Cull, it suggests everything from foreign shores to life’s transience to the search for a permanent home, all themes in this smartly textured show……..
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Old Stock is a 2b theatre company (Halifax, N.S.) production, co-produced by the NAC. It was reviewed Thursday. In the Azrieli Studio (NAC) until July 15. Tickets: nac-cna.ca
Marie Chouinard admits that this performance represents the “joy of bowing before a masterpiece (NAC program p.3) as she subjects her choreography to the spirit of Bosch’s Triptych The Garden of Earthly Delights. The one dimensional language of the painter that spreads out on a flat canvass before us, marked by the visual esthetics of the Northern Renaissance , is given a new spirit on the NAC stage. Contemporary androgynous bodies moving in space with musical accompaniment, subjected to predetermined steps and a form of perfectly orchestrated chaos, reveal the enormous shift in creativity that was required by Chouinard to capture the spirit of Bosch’s three movements that inspired her work: The Garden of Earthly Delights, Hell and Paradise. (Continue reading » )
The Virgin Trial. Photo Cylla von Tiedemann
STRATFORD, Ont. — Tudor England in all its drama and turbulence continues to attract a huge following in today’s popular culture. From the reign of King Henry Vlll through to the Gloriana days of Elizabeth 1, we’ve had an unending cycle of popular and academic history, best-selling fiction, movies, television series and stage plays.
It’s inevitable that we often get more mythology than history and that the speculative often vies with the factual for our attention. Purists may harrumph about this — will we, for example, ever know for certain the truth about Elizabeth’s virginity? But can we deny that, even centuries afterwards, Tudor times remain urgently, irresistibly alive to us?
Part of the explanation must surely lie in the fact that we’re dealing with formidable personalities. A couple of years ago, dramatist Kate Hennig showed her awareness of this in her debut play, The Last Wife, which received a sterling production last season at Ottawa’s Great Canadian Theatre Company. It focussed on Catherine Parr, Henry Vlll’s last Queen and a lady who — given the history of her predecessors — showed an impressive capacity for survival. Hennig’s evocation of the dying days of a tyrant’s reign was aflame with dramatic tension, but it was the play’s status as a richly realized character piece that gave it the momentum it needed. And it compelled us to give our full attention to the complex personalities of the key players — not just Henry and Catherine, but also Henry’s two very bright but psychologically different daughters, Mary and Elizabeth, as well as that shady but charming opportunist Thomas Seymour who would marry the widowed Catherine and also pursue some kind of relationship with the young Elizabeth, a relationship whose very nature has kept us guessing for centuries.
(Continue reading » )
Pardon Me, Prime Minister, directed by Josh Kemp. Photo: Maria Vartanova
Should you think about going to see Pardon Me, Prime Minister, currently playing at Ottawa Little Theatre, be warned.
This weak and dated farce by Edward Taylor and John Graham, first performed in 1979, is not connected to the fine television comedy series Yes Minister and Yes, Prime Minister — except by trying to force a link through its title.
The plot — if that is not too strong a word for the creaking storyline — is transparent and the climax (again too strong a word for something that is more fizzle than sizzle) is discernible well before the end of the first scene.
In the tradition of British farce, cast members rush through assorted doors and females strip to their underwear, on at least one occasion for absolutely no reason. Sadly, the OLT production features some of the ugliest and most unflattering undies that do nothing to enhance the appearance of the three young women who must wear them. And, while considering the costuming, it might also have been a good idea to spring for three similar dresses in three different sizes, instead of making do with one, for the three actresses of different body types, who must wear them. Along the way, this would also set up an amusing replication of outfits for the curtain call.
(Continue reading » )
Old Stock. Ben Caplan as the narrator. Photo: National Arts Centre English Theatre
Old Stock : A Refugee Love Story written by Hannah Moscovitch. Songs by Ben Caplan and Christian Barry. Directed by Christian Barry.
An old man emerging from the smoky top of an apparently abandoned train, the suggestion of a painful transportation that took place during WWII, suddenly transforms this structure into the site of a travelling theatre, resounding with music, that has “appeared” out of the past with its lively Klezmer Rumanian Jewish /Gypsy background bringing together a huge audience ready to hear its tales, including a love story that must be told. With music that brings much to the dramatic intensity of the show, this theatrical company of theatre within theatre, is transported into the present with its four musicians/actors and a narrator-superb singer, dancer and actor Ben Caplan- under the direction of Christian Barry.
(Continue reading » )
Die Kabale der Scheinheiligen. directed by Frank Castorf (Berlin). Set design by Aleksandar Denic. Photo Christian Raynaud De Lage.
Based on Le Roman de Monsieur de Molière by Mikhail Bulgakov, with additional texts by Pierre Corneille, Rainer Werner Fassbinder, Molière, Jean Racine
Frank Castorf’s reputation precedes his creations. The director-monumentalist is known for his epic adaptations of the western literary canon and innovations in stage design, specifically the use of film on stage. Die Kabale der Scheinheiligen lives up to its reputation. It presents a full range of Castorf’s directorial palette. Even if the six hour theatrical marathon might feel a little over-stretched – do we really need a clown routine with a chair for another 20 minutes? – the play is something to be experienced live at least once, and definitely here, at the Avignon theatre festival.
The story of this colossal production is based on the life of Jean-Baptiste Poquelin, Molière, his complex relation with King Louis XIV and the Catholic Church, his personal affairs, his theatrical triumphs, and his fall orchestrated by his enemies, all of it as imagined and told by the Russian-Soviet writer, Mikhail Bulgakov.
(Continue reading » )
A creation of the Le Birgit ensemble, Paris. Music by Grégoire Letouvet, Romain Maron; Set Design by Camille Duchemin, Lighting by Grégoire de Lafond, Video by Pierre Nouvel
Photo: Christophe Reynaud De Lage
Memories of Sarajevo and Dans les ruines d’Athènes are the two concluding parts of the tetralogy Europe mon amour created by Julie Bertin and Jade Herbulot, the founders of the Paris based theatre company Le Birgit Ensemble.
Conceived in the genre of a nation play – defined by Michael Billington as a theatre play that takes stock of the state of the nation and instigates social change – Europe, mon amour provides an overview of European history, as it unfolded after the World War Two. Memories of Sarajevo presents an exploration of the 1992 – 1996 siege of Sarajevo, Dans les Ruines d’Athènes is a study of the recent economic collapse of Greece.
Dans les ruines d’Athènes. Photo Christope Reynaud De Lage.
Born in the mid 80s, the company’s directors and its fourteen members, present a homogeneous group of collaborators. They belong to the generation of young Europeans, who grew up affected by the new political, economic and social freedoms and who challenge the political and economic practices of the European Union.
They have no sentimental attachment to this history, they are ready to ask difficult questions and call European governments to be responsible for their failures. Le Birgit Ensemble is also unique in its professional make up, as it consists of a group of young artists, who studied together at Le Conservatoire National Supérieur d’Art Dramatique (CNSAD). They share artistic language and methods, they research and create their productions together as well. Still, the two productions presented in the Avignon 2017 were very different in style and directorial approaches.
(Continue reading » )
ANTIGONE – FESTIVAL D AVIGNON – 71e EDITION –
Texte : SOPHOCLE –
Traduction : Shigetake YAGINUMA –
Mise en scène : Satoshi MIYAGI –
Musique : Hiroko TANAKAWA –
Scénographie : Junpei KIZ –
Lumière : Koji OSAKO –
Costumes : Kayo TAKAHASHI –
Coiffure et maquillage : Kyoko KAJITA –
Lieu : Cour d’Honneur du Palais des Papes –
Ville : Avignon –
Le 04 07 2017 –
Photo : Christophe RAYNAUD DE LAGE
Antigone by Sophocles, directed by Satoshi Miyagi; music by Hiroko Tanakawa; scenography by Junpei Kiz
Sophocles’ Antigone directed by Satoshi Miyagi and presented at the heart of the Avignon festival, in the Palais des papes, is one more example of a theatre as a symphony of pain.
Antigone – much like the other productions – is also a play about war, injustice and suffering. It concerns the death of a young woman whose personal goal was to bury her brother and put his soul to rest. One of the foundational myths of Western consciousness, in Satoshi Miyagi’s theatrical universe, this Greek tragedy also links the traditions of Japanese Noh theatre and the philosophy of Buddhist monks. (Continue reading » )
SAÏGON – 71e Festival d’Avignon –
Texte et mise en scène : Caroline GUIELA NGUYEN –
Collaboration artistique : Claire CALVI –
Dramaturgie : Jérémie SCHEIDLER – Manon WORMS –
Traduction : Duc Duy Nguyen, Thi Thanh Thu Tô
Scénographie : Alice DUCHANGE
Lumière : Jérémie PAPIN
Son : Antoine RICHARD
Costumes : Benjamin MOREAU
Gymnase du Lycée Aubanel –
Photo: Christophe Raynaud De Lage.
Caroline Guiela Nguyen has created a four-hour theatrical tale based on the history of Vietnam. Its story centres on colonialism and the struggle for independence, reflected in the lives of several Vietnamese families, who left Saigon for France. Nguyen is an offspring of this exodus. For her, the post-colonial history of Vietnam, and the history of Hồ Chí Minh–city, the city of Saigon, the one that “we can tell only with tears in our eyes”, is part of her identity and her artistic exploration. The play captures the drama of departures and returns, the tragedy of unfulfilled hopes and the suffering of misunderstanding. (Continue reading » )