Capital Critics' Circle
Le cercle des critiques de la capitale

Reviewing Theatre in Canada's Capital Region
La critique théâtrale de la région Ottawa-Gatineau

Bernard Shaw’s early comedy, The Philanderer, makes a stunning return to the Shaw festival – reviewed by Jamie Portman.

Reviewed by on    Professional Theatre, Shaw Festival 2014, Summer theatre 2014  


Photo: David Cooper. Featuring Marla  McLean and Gord Rand.

NIAGARA-ONTHE-LAKE, Ont. — We’re not really getting full nudity on the stage of the Festival Theatre, but that’s still what the opening moments of The Philanderer manage to suggest.

We’re privy to a couple still in lustful embrace, and they leave us in no doubt about what has just taken place. The man is Leonard Charteris, an accomplished womanizer whose sexual confidence is only matched by his sense of sexual entitlement. The woman is Grace Tranfield, a current conquest and a young widow who has managed to convince herself that the charismatic Leonard is her new soul mate.

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The Sea: a beautiful production at Shaw of a strange and beguiling fable that evokes an elusive something; reviewed by Jamie Portman.

Reviewed by on    Professional Theatre, Shaw Festival 2014, Summer theatre 2014  


Fiona Reid in The Sea. Photo: David Cooper.

NIAGARA-ON-THE-LAKE, Ont.  —   Edward Bond’s The Sea is perhaps the most personal play he ever wrote in terms of its relationship to his own life, and it’s certainly his most accessible.
But as the Shaw Festival’s sterling new production of this 41-year-old piece reminds us, it’s also a strange and beguiling fable, set a century ago in an East Anglian seaside village and turning its sights on two favorite Bond preoccupations — class and social disorder.
It can seem discordant in performance. The play can touch you to the heart at one moment — witness the poignancy with which its two young protagonists, beautifully played by Wade Bogert-O’Brien and Julia Course, experience a shared loss from a tragic death and also a shared yearning for escape from a repressive environment. Yet, within the compass of this same play, you’ll encounter a funeral service that degenerates into surrealistic farce.

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Deborah Hay Triumphs Again At The Shaw Festival: Jamie Portman reviews Williams’ A Lovely Sunday for Creve Coeur.

Reviewed by on    Professional Theatre, Shaw Festival 2014, Summer theatre 2014  


Photo: Emily Cooper. Featuring  Deborah Hay and Kate Manning.

NIAGARA-ON-THE-LAKE, Ont. — This is the summer when Shaw Festival actress Deborah Hay can do wrong.

She’s been in command of the flagship Festival Theatre stage since April with her brilliant performance as Sally Bowles in Cabaret. And now, she’s providing some sublime moments in the festival’s problematic lunch-hour production of Tennessee Williams’s neglected one-act play, A Lovely Sunday For Creve Coeur.

The setting is St. Louis, a city that looms large and traumatically in the playwright’s personal and creative life, and we first meet Dorothea, the character played by Hay, doing calisthenics in the living room. She is another of Williams’s emotionally maimed heroines — not as tragedy-bound as Blanche Dubois, but still vulnerable.

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Shaw Festival Scores big with J.B. Priestley’s classic comedy When We Are Married.

Reviewed by on    Professional Theatre, Shaw Festival 2014, Summer theatre 2014  


Photo: David Cooper

NIAGARA-ON-THE-LAKE, Ont. — Acerbic American critic John Simon once observed that the Shaw Festival probably has the best acting company in the Western Hemisphere.
And the proof is again in evidence with the festival’s uproarious revival of When We Are Married, J.B. Priestley’s 1938 comedy about three Yorkshire couples who make the shattering discovery at their joint Silver Anniversary party that they were never legally wed.
The play is a cunningly executed fusion of character and situation. It is also a probing and at times painfully funny dissection of a particular culture and of a class system that achieves its own unique definition within the West Riding town of Clecklewyke, which is the fictional stand-in for Priestley’s own birthplace of Bradford.

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Shaw Festival’s production of Arms and the Man: The 2014 Season Opens with a Winner

Reviewed by on    Professional Theatre, Shaw Festival 2014  


Kate Besworth as Raine Petkoff. Photo by  Emily Cooper

NIAGARA-ON-THE-LAKE, Ont. —The Shaw Festival’s latest production of Arms And The Man is definitely pint-sized — a shorter version with at least 30 minutes of its normal running time chopped out.

Purists, who relish the play’s philosophical musings about the absurdities of militarism and the follies of romantic illusion, may well take offence at being short-changed in this way — seeing the 2014 season’s opening show less as an act of streamlining than as an act of dumbing-down: in other words, let’s just laugh and enjoy the liveliness of character and situation — but for heaven’s sake, let’s not be forced to think too hard about what’s really on playwright Bernard Shaw’s mind.

But let’s keep things in perspective. The Shaw Festival may be the only organization in the world dedicated to the theatre of Bernard Shaw and his contemporaries, but it’s never been the kind of sacred shrine that treats the master’s works like holy writ. There’s also an important place at Niagara for exploration and experimentation — witness the audacity with which it has revisited Saint Joan over the years — and that’s one of the happiest aspects of the festival’s mandate.

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The Mountain Top: Martin Luther King’s last hours are grippingly evoked at the Shaw Festival

Reviewed by on    Professional Theatre, Shaw Festival 2014  


Kevin Hanchard as Martin Luther King.  Photo: David Cooper

NIAGARA-ON-THE-LAKE, Ont. — We’re in a run-down motel room in Memphis. It’s the night of April 3, 1968, and we’re watching Martin Luther King, a few hours after he has delivered his “we’ve been to the mountaintop” speech and has reaffirmed his vision of the promised land.

It’s also a few hours before he will be assassinated on the motel balcony.

The Shaw Festival’s tiny Studio Theatre provides the venue for its gripping production of Katori Hall’s award-winning play, The Mountaintop, and it helps contribute to a sense of claustrophobia and containment. There’s a startling moment when King, beautifully portrayed by Kevin Hanchard, attempts to leave the room — but when he throws open the door, he finds his way blocked by a monstrous snowdrift. Are we getting a dose here of the magic realism that encircles Hall’s brilliant re-imagining of the events leading up to a real-life tragedy? Perhaps. On the other hand, as Alana Hibbert’s cheerfully resilient chambermaid reminds King, Tennessee is prone to snowfalls, even in April.

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The Shaw Festival has another triumph with Juno And The Paycock: Reviewed by Jamie Portman

Reviewed by on    Professional Theatre, Shaw Festival 2014, Summer theatre 2014  


Juno and the Paycock.  Photo. David Cooper

NIAGARA-ON-THE-LAKE, Ont. — It’s only a cameo appearance, but when the remarkable Jennifer Phipps shows up in the second act of Juno And The Paycock as a bereaved old Irish mother mourning the son who has become a victim of the Irish Civil War, you can hear a pin drop.

Phipps is with us for only a few moments in the role of the mourning Mrs. Tancred, her head held high despite everything that’s happened to her, but that’s all the time she needs to communicate not just grief but stoicism and resilience in the face of terrible loss. It’s always at the most personal level that we can become really aware of the price exacted by human conflict, and this venerable Shaw Festival veteran delivers.

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Ottawa Fringe 2014. Portable #3 – Not Just another French Class

Reviewed by on    Ottawa Fringe 2014, Shaw Festival 2014  


Alexander Gibson’s one-man show about the trials and tribulations of an elementary school French teacher is one of the joys of the 2014 fringe. The script, written by Gibson and Matty Burns, is intelligent, funny and socially aware. And Gibson’s performance, beginning with a breathless monologue (in rhyming couplets, no less) and continuing with a succession of comically illuminating moments, is a tour de force. The guy is a genuine charmer.

Fringe: Portable # 3 — Not Just another French Class.

An SDT Production

Arts Court Sudio

    Ottawa Fringe 2014. Chase and Stacy Present Joyride

    Reviewed by on    Ottawa Fringe 2014, Shaw Festival 2014  

    Normally, it would be enough to report that Joyride is a car wreck of a show, devoid of a modicum of true inventiveness. Trouble is, one of its co-creators is Oregon’s Chase Padgett whose wonderful Six Guitars was a highlight of the 2014 Fringe. So one expects more from him than this witless piece of sophomoric excess. Padgett’s partner in crime is an irritating bundle of mannerisms named Stacey Hallal. We first encounter her floundering about the stage like a beached whale while Padgett makes electronic sounds on a keyboard. Then she moves into the audience to portray an emotionally unstable pest who keeps disrupting Padgett’s mind-reading session. By this point, we’re discovering that the feebleness of a sketch’s set-up is rendered even more feeble by the banality of the pay-off moment. Among other treats, if you can call them that, are the sounds of copulation — pants, groans and assorted shrieks perfomed in darkness to the accompaniment of further electronic noises — and the spectacle of a slack-jawed hillbilly repeatedly botching up a televised tribute to the wonders of the rutabaga. Oh well, there’s nothing like mocking the lower orders to remind us of our own brilliance and superiority.

    A Stacey Hallal Production

    Arts Court Theatre

    Ottawa Fringe 2014. Kitt and Jane. An interactive survival guide to the near-post-apolyptic future

    Reviewed by on    Ottawa Fringe 2014, Shaw Festival 2014  

    A show with mixed messages that seemed to be carried away by itself. 2 fourteen year olds in a grade 9 class are giving a talk about the salmon population and it rapidly becomes a training session to help us survive the coming apocalypse ( word not to be spoken!) of an earth that is dying , poisoned by toxic waste, and everything else. The whole list of those who are killing the planet comes down on us as the two children “play” at dying. Natural acting is indicated by mumbling and talking too quickly but there were images to watch if one couldn’t catch all the words. A lot of theatrics, a lot of naïve childish playing, a lot of sophisticated computer work, tv influences, shadow puppets, technological support,  an actress who dominates the stage with her beautiful singing voice and great stage presence, and an ending that completely subverts the message so all of it seems that we were the objects of a not so childish manipulation. It appeared that no one was in charge directing this. That might have helped.

    And an audience that rose for a standing ovation??

    Kitt and Jane by Kathleen Greenfield , Ingrid Hansen and Rod Peter Jr.

    SNAFU productions

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