Photo. Barb Gray. Natasha Greenblatt as Alice, Herbie Barnes and Darrell Dennis as TweedleDum and TweedleDee
Jillian Keiley’s production of “Alice Through the Looking-Glass,” adapted by James Reaney from the Lewis Carroll classic, is awash with ingenious and colorful sets and costumes, audience participation and good music. However Carroll’s thoughtful and philosophical parts of the story, even the fact that it’s a coming of age for Alice, are drowned out by all the bells and whistles. I’m afraid Alice purists will be dismayed, but this version is great fun and undoubtedly entertaining.
A co-production with the Stratford Festival where it played last summer, it uses the all the technical aspects of that production, but with different actors. Bretta Gerecke’s chess board floor slopes upward toward the back, perfect for the Red and White Queens to slide down. The squares even light up as Alice makes her moves.
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Photo: Andrée Lanthier
The National Arts Centre’s English theatre division has proudly unveiled its 2014-15 acting ensemble — and one can only feel embarrassed.
The rationale for a permanent acting company is a sound one. It’s to elevate the play-going experience by assembling a gifted team of artists versatile enough to tackle all types of theatre with confidence and understanding. Possibly the prime example in Canada exists at the Shaw Festival where its company has been hailed as the best in the western hemisphere.
That said, any acting company worth its salt should be able to meet the demands of Oscar Wilde’s The Importance Of Being Earnest, a staple of the basic repertoire. Unfortunately, the NAC’s much vaunted new ensemble fails the test lamentably.
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Photo by Barb Gray
Oil and Water by Robert Chafe doesn’t really get off the ground until about two-thirds of the way through its hour and twenty-five minutes, (with no intermission), running time. It purports to be the story of Lanier Phillips, a black American sailor who was rescued in 1942 along with 40-some white sailors from a shipwreck off St. Lawrence, Newfoundland. His non-racist and benevolent treatment by the villagers, who had never seen a black man, was a pivotal event in his life. He became an activist for civil rights and also maintained his connection with the people of St. Lawrence.
Sounds like a great story, but most of the details never make it to the stage. The many scenes with Lanier and his daughter 30 years later during the school riots in Boston intercut with those of the miners’ families in the village dealing with mine safety and lung disease, hijack the play and the shipwreck story. The script tries to follow too many characters. When the audience has no idea what’s going on unless they’ve read the program notes, something’s very wrong. With the shipwreck, the play finally gets on track, but by then we don’t much care.
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This is not a finished review because I was off to a theatre conference in Trois Rivières but this is a play that deserves a comment. Oil and Water is an important narrative that brings much to Canadian contemporary history but the play and especially the staging of the performance are terrible disappointments. How can one find a parallel between the oppression of miners in Newfoundland the poverty created by the end of the fishing industry, with racism in the United States?. (Continue reading » )
Photo. courtesy of the NAC English Theatre. Eric Peterson as Percy Schmeiser
Reality is the seed of any theatrical piece. And when reality is an epic struggle between a corporate Goliath and an individual David, art seems a perfect place to imitate life.
Playwright/journalist Annabel Soutar has developed a fascinating, dense (sometimes too dense) docudrama in Seeds, a powerful piece of verbatim theatre about the landmark court case of Monsanto Canada versus Saskatchewan farmer Percy Schmeiser. (The official name of the case was Percy Schmeiser and Schmeiser Enterprises Ltd. v. Monsanto Canada Inc. and Monsanto Company, indicating greater breadth of connections. U.S.-based Monsanto is a massive international corporation. Canola oil farmer, plant breeder and local politician Schmeiser owns a 1,000-acre farm.)
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Photo Barbara Gray.
OTTAWA — Her sword is just plastic, but Marg Delahunty, aka the Princess Warrior, has a tongue sharp enough to separate a rhino and its hide without even trying.
Marg, as all fans of slash-and-burn Canadian comedy know, is the alter ego of Newfoundland comedian Mary Walsh. Resplendent in her glittering, red Princess Warrior outfit, the one we’ve all admired as we’ve watched her ambush public figures from Mayor Rob Ford to former prime minister Jean Chrétien on CBC’s This Hour Has 22 Minutes, Marg is front and centre in Walsh’s one-woman show Dancing with Rage.
The show, which seesaws between hilariously pointed moments and arid stretches and ultimately doesn’t hold together particularly well, opens with another Walsh character: the purse-lipped, purse-clasping Miss Eulalie. Tut-tutting about topical issues — bridges and sinkholes in Ottawa, the recent appointment of Joe Oliver, “the minister responsible for the destruction of the environment,” as replacement for the departed minister of finance Jim Flaherty — she totters down the aisle and onto the stage.
Walsh soon sheds that character along with Miss Eulalie’s bulky coat and rummage-sale hat to stand before us in black underwear. She bemoans the state of contemporary feminism as well as her own aging body (she’s 61) — or at least the state of a society that makes a clothes-shopping expedition for an aging woman, whose body now bulges in unforeseen ways and places, a voyage to hell. “It leaks out like some fleshy Exxon Valdez,” she says, gripping some of that fleshy stuff in a way that’s simultaneously self-deprecating, endearing and smartly subversive…….Read more
Liisa Repo-Martell and Eric Peterson, in Seeds.
Photo: Guntar Kravis
By Annabel Soutar
A production of Porte Parole Theatre
Presented at the Frederick Wood Theatre, Vancouver, as part of the PuSh Performing Arts Festival, January 2014.
Seeds plays at the National Arts Centre, English Theatre from March 6 to April 12, 2014.
In the world of documentary theatre Seeds may reign supreme as one of the most complex topics ever incubated for the stage. The story is one well suited for the headlines-as-dialogue, taunt teaching moments, and characters-as-points of view form of theatrical presentation docudrama uses to construct its world. The little guy – and they don’t get much smaller than the individual farmer – is suddenly and it would appear unjustly targeted by a multi-national corporation because their genetically modified seeds have capriciously settled on his land producing a crop resistant to the weed blasting properties of Round Up herbicide. That’s the simple plot. (Continue reading » )