The Norman Conquests: Round and Round the Garden an absolute treat packaged in a good laugh

Reviewed by Rajka Stefanovska

AL Connors as Norman and Margo MacDonald as Sarah Photo by David Whiteley

AL Connors as Norman and Margo MacDonald as Sarah
Photo by David Whiteley

The Norman Conquests is a trilogy. It takes place in a family house in the British countryside, where Annie lives with her invalid mother. She plans to spend a weekend with her sister’s (Ruth) husband, Norman, in a hotel. Everything is set. Her admirer and neighbour Tom believes that she is to go alone, but actually wants him to come with her and Annie’s brother Reg and his wife Sara come to stay with their mother for that weekend. However, somehow things come askew, and they all  end up spending the weekend together as Annie’s guests. 

In the third part of The Norman Conquests, Round and Round the Garden, Ayckbourn still deals with the same domestic issues as in the previous two (Table Manners and Living Together). The characters are the same and it is the same weekend, but while Table Manners takes place in the dining room and Living Together in the living room, Round and Round the Garden is set in the garden. With the last part of the trilogy performed, this outstanding play wraps up in a meaningful way as a combination of a comedy of manners, domestic turmoil and above all, a fantastic character study.

Although comedy might seem to be a lighter genre of drama because of its humorous approach to reality, it is probably the hardest one to pull off. Because it is so easy to go overboard and make it a clownish non-artistic performance, it demands a huge amount of talent and innate sense of balance.     (more…)

GCTC’S Timely Production of Michael Healey’s Politically Potent Generous Wholly Successful

Reviewed by Kat Fournier

Photo: Andrew Alexander

Photo: Andrew Alexander

The war room is abuzz. The government may have just lost their majority and heads are going to roll. A power-hungry Prime Minister is surrounded by a bumbling group of cabinet ministers in the PMO, each obviously too stupid, too self-involved, or too guileless to be real, though the verisimilitude didn’t always escape me. Amidst the senseless commotion, a women has lurched her way into the middle of the room, her hands clutching her bleeding abdomen.

This, the first scene of Michael Healey’s Generous, playing at the GCTC and directed by Eric Coates, is the perfectly grotesque entry-point to a darkly comedic play. The government, corporate oil, media, and the Supreme Court are the objects of Healey’s play, but the subject is the virtue of generosity in the public service; and it’s not cleanly palatable when it’s found. From murder, to the spotless opinion of a naïve reporter, or the unsolicited attention that we’d rather not have, generosity takes many forms. Healey portrays a complicated kind of generosity as it plays out in the most powerful influencers in Canadian society.

Healey’s script is twisted, and dark, and its structure is deliberately disjointed. The three scenes that span the two acts of this play present three distinct storylines and flank a fifteen year gap, leaving the audience off balance. This theatrical device helps to pull the audience away from their expectation of a typical narrative structure. Though the scenes seem to mimic reality, they aren’t grounded in naturalism. Michael Healey’s script is intensely wordy, for example. The characters sink into extensive, heady, monologues that feel meta-theatrical and self-aware. (more…)

San goes beyond the boundaries with blend of theatre, music and film

Reviewed by Patrick Langston

Photo: John Kenney / Montreal Gazette

Photo: John Kenney / Montreal Gazette

The city may be an indifferent, sometimes cruel place. But it can still harbour grace and love even if you’re an almost-obsolete robot infatuated with an office worker who’s as much a misfit as you. That’s the ultimately hopeful upshot of Nufonia Must Fall Live!, the gentle puppet-show-with-a-difference by Eric San, a.k.a. Montreal-based scratch DJ and music producer Kid Koala, that’s been making a splash at home and abroad since it debuted last year.

Based on his own 2003 graphic novel and soundtrack Nufonia Must Fall, San’s multidisciplinary show employs real-time filming of more than a dozen miniature stages and a cast of white puppets, with the video projected on a screen at the rear of the stage.

The audience can make out the puppeteers and camera people as they go about their business on stage. Koala and the Afiara Quartet provide live — and alternately sad, lush and disquieting — music on piano, strings and turntables at stage rear. (more…)

Puppets UP. International Puppet Festival in Almonte

Reviewed by Alvina Ruprecht


Hungarian puppeteer Andres Lenart during the Mikropodium show at the 9th season of the Puppets Up! International Festival in Almonte on August 10th and 11th,

Photograph by: Bruno Schlumberger, Ottawa Citizen

More comments coming…Performance on Sunday at 4pm in the Ultramar  Theatre in  Almonte.

The Edward Curtis Project: A beautiful picture that could use a touch up

Reviewed by Jeunes critiques

Kevin Loring as the Chief
Photo: Andrew Alexander

By Tyler Dasberg

Marie Clements, both writer and director of The Edward Curtis Project, presents a piece of theatre that is not unlike an alarm clock. It wakes you up with the occasional exciting, beautiful image, but when you hit the snooze button, you fall right back to sleep.  Playing at the GCTC and presented by the NAC English Theatre, it is a “visually stunning” production; however, melodramatic acting and non-effective storytelling obscure the important stories trying to be conveyed.

It is a drama about a Métis reporter named Angeline (Quelemia Sparrow), who after learning about a poignant story, involving the deaths of three Native children, begins to explore the strength and spirit of Aboriginal identity, the ethics of her profession, and the difficulties of being a witness. She interacts with photographer Edward Curtis (Todd Duckworth) and with his trail of photos that document the desertion of the North American Indian and falsely portray them as an impoverished, inebriated, and helpless people. (more…)

Innocence Lost: Truscott the Explorer is Canada’s Dora

Reviewed by Jeunes critiques

Alex Brunjes is a student in Yana Meerzon’s Theatre Criticism course at the University of Ottawa.


Photo: Canada Wilde. Steven Truscott.

As much as I would like to say the National Art Centre’s English Theatre production of Innocence Lost is enjoyable and that Roy Surette’s interpretation of Beverly Cooper’s memory play is unforgettable – let me assure you that it is neither of those things. The acting was safe, the set was simple and the use of multimedia was visually taxing. After seeing this production, I felt as though I had just sat through a children’s television show, attempting to educate or brainwash me into questioning the judicial system.

Innocence Lost tells the history of the Steven Truscott trial. It begins after the rape and murder of Lynne Harper in Clinton, Ontario, and runs to Truscott’s acquittal in 2007, exploring the different perspectives of the townspeople involved. While the beginning of the history is drawn out, showing the traumatic experiences of Truscott’s family and friends, the conclusion is rushed leaving audiences hungry for more. Unfortunately (or rather fortunately), there is no sequel.


God of Carnage: Get Uncivilized!

Reviewed by Jeunes critiques

Jenna Naulls is a student in the theatre critics course taught by Yana Meerzon at the U of Ottawa

After an 18 month hiatus, Third Wall is back with a vengeance. They have proven that if you take a risk, a functional and symbolic set, a sharp script and a group of well-known equity actors, you can make anything happen. This production of “God of Carnage” was certainly worth the wait.

The story focuses on two married couples (Alain and Anette Reille and Michel and Veronique Vallon) who are meeting in the living room of the Vallon residence to discuss a physical altercation between their two sons. Over the course of their conversation, the civilized demeanour of the four adults breaks down and leaves them acting like children themselves. They question each other’s every action and intention; Anette vomits from stress, Michel breaks out the rum and Veronique empties the entire contents of Anette’s purse on the ground. They tear each other, and themselves, down until a number of them whisper, “This is the worst day of my life”.


Julius Caesar: Contemporary Razzle Dazzle that Captures the Heart of Shakespeare’s Play

Reviewed by Patrick Langston

Eugene A. Clark (in the red tie) is a Gemini-winning actor, but he wasn’t convincing in the role of Caesar in this production by the Ottawa Shakespeare Company.Photo: Chris Miulka —

Brutus must never have heard the expression, “Better the devil you know than the one you don’t.” Otherwise, he might well have refused to join with Cassius and his co-conspirators in the assassination of Julius Caesar, an act that brings on the demons of civil strife and personal tragedy.

Then again, had Brutus heeded that expression we would have had neither William Shakespeare’s play Julius Caesar nor its engaging, if flawed, new version by director Charles McFarland and the Ottawa Shakespeare Company.


Reviewed by Iris Winston

During the 2008 federal election, Rob Salerno, a Toronto-based gay political columnist for the newspaper Xtra, decided to ask the leader of each party about his or her position on gay rights. Stephen Harper was the only one to decline. Salerno’s determination to interview Harper resulted in an assault charge (you’ll need to see the show for the story


Reviewed by Alvina Ruprecht


Reviewed by Iris Winston

Relying heavily on equal parts of chutzpah and polish, Dirty Rotten Scoundrels is funny, irreverent, ironic, occasionally coarse and frequently politically incorrect. It mocks stereotypes, borrows style and content from other musicals as required, periodically breaks through the fourth wall and, most of all, laughs at itself.

In other words, this cheeky, lighthearted entertainment — adapted from the 1988 movie starring Michael Caine and Steve Martin — is a great deal of fun.

And the Orpheus Musical Theatre Society production, in the hands of director Shaun Toohey, musical director Wendy Berkelaar and choreographer Chantale Kutkewich maximize the fun quotient.

Aided by Jennifer Donnelly’s fluid set, the story of two con men milking rich divorcees and widows on the French Riviera crackles along at a fine pace.

Rob Henderson is elegance and sophistication personified as the suave, older con artist, Lawrence, while the rubber-legged David McLaughlin provides a delightful contrast as the lowlife style of con man.

Add to the mix the love interest/innocent mark Christine Colgate (Shawna McSheffrey) and the triangle is complete. McSheffrey also makes the most of a fun role to deliver a combination of downcast eyes and demure demeanour contrasted with taking charge at the appropriate moment.

In addition, as part of poking fun at musical format, Dirty Rotten Scoundrels offers a sub-plot of secondary love interest, well handled by Lawrence Evenchick as André, the slightly corrupt police chief, and Irish O’Brien as the wealthy Muriel.

Completing the sample of wealthy women ready to be conned is Christa Cullain in a spirited performance as the gun-toting Oklahoma heiress Jolene.

While Yazbek’s music is serviceable rather than memorable, the irony of the script and the high quality of the production are highly entertaining. You may not leave the theatre humming one of the melodies but you will undoubtedly come out smiling and in high spirits.

Dirty Rotten Scoundrels, which continues to June 12, 2011, is not to be missed

Iris Winston, Ottawa

June 5, 2011

Orpheus Musical Theatre

latest reviews posted first.

Dirty Rotten Scoundrels

Book by Jeffrey Lane

Music and lyrics by David Yazbek

Director:  Shaun Toohey

Musical Director: Wendy Berkelaar

Choreographer: Chantale Kutkewich

Set:  Jennifer Donnelly

Lighting;  Margaret Coderre-Williams

Sound: John Cybanski

Costumes : Susan Cole  




Rob Henderson


David McLaughlin


Shawna McSheffrey


Lawrence Evenchick


Irish O’Brien


Christa Cullain



Past Reviews