Month: November 2017

Sir John A Macdonald the Musical. Much to admire in the book, the music and Andrew Galligan’s fine performance in the title role.

Sir John A Macdonald the Musical. Much to admire in the book, the music and Andrew Galligan’s fine performance in the title role.

“History has a voice.”

The line from the world premiere of Gord Carruth’s latest work, Sir John A. Macdonald, the Musical, is the core of the show that recounts key points in the life of Canada’s first prime minister in words and music.

The man — consistently ranked as one of the most successful prime ministers in Canadian history — is an ideal subject to mark the 150th anniversary of the country he was instrumental in founding, particularly given some recent negative comments about Macdonald’s policies. In his carefully researched and historically accurate musical, Carruth has chosen to present the man, his demons and some of his speeches, as recorded in Hansard, without judgment or analysis.

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Prodigal Son: 9th Hour Theatre Company presents sensitive, timeless story

Prodigal Son: 9th Hour Theatre Company presents sensitive, timeless story

Photo courtesy of 9th Hour Theatre Company

Prodigal Son

By Shawn Macdonald

Production:  9th Hour Theatre Company

What is good about 9th Hour Theatre Company is their unflinching courage to tackle bold and often sensitive subjects. What is great about them is their consistently challenging and artistic story telling that manages to hold up a mirror to its audience, no matter the topic. Their new production, Prodigal Son by Shawn MacDonald, is inspired by the suffering of LGBTQ people of faith, but in director Jonathan Harris’ interpretation, the story becomes universal – it is about our imperfect world where individuals struggle with preconceived notions, embedded deeply through their upbringing. Unable to fight society’s rigid rules, carved in stone by prejudice and a blind faith in authority, they lash out on those close to them and end up losing themselves.

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The Curious Incident of the Dog in the Night-Time: An Intense and Moving Theatrical Experience

The Curious Incident of the Dog in the Night-Time: An Intense and Moving Theatrical Experience

photo: Nile Hawver-Nile Scott Shots

The 2015 Tony Award winning The Curious Incident of the Dog in the Night-Time now playing at Boston’s SpeakEasy Company was adapted by Simon Stephens from Mark Haddon’s bestseller of the same name. It is a very imaginative theatrical play where what is seen is as important as the words heard.

It revolves around Christopher Boone, a high functioning mathematically gifted autistic fifteen year old boy who lives in Swindon, England. Although the word autism is never mentioned, his behavior and the production make his problems clear. Given that he prefers his own company he does not socialize with people. As a result, he is extremely naïve about the way the world functions. He cannot bear physical contact with people. Even his parents are allowed only to reach out a hand and touch Christopher’s hand while he stands at a distance. However he has a pet rat he cares for tenderly. He dreams of becoming an astronaut, a profession where he could be alone and fly towards the planets.

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Student review: Bent is an evocative production that finds it feet towards the end

Student review: Bent is an evocative production that finds it feet towards the end

Reviewed October 18 by Natasha Lomonossoff

TotoToo Theatre’s production of Bent at the Gladstone was a laudable effort, despite a few inconsistencies that detracted from its overall impact. Director Josh Kemp’s take on Martin Sherman’s historically significant play was most successful in establishing the dark events and atmosphere that foreground it: that is, the persecution of gays in Nazi Germany. Bringing this lesser known evil to light, the play focuses on an openly gay Berliner named Max who, along with his partner Rudy, are forced to flee the city after two Nazi guards come to their apartment with an arrest warrant for a companion they picked up at a club just the previous night. The pair embark on a fruitless journey all throughout the country to escape, as they are eventually caught and placed on a train heading towards Dachau. Unimaginable brutality and suffering only follows from there.

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Ismene at the University of Ottawa : excellent work by a talented ensemble!

Ismene at the University of Ottawa : excellent work by a talented ensemble!

Ismène courtesy of the University of OttawaTheatre Department

 

 

A finely tuned production that shows off a talented ensemble and describes an enduring mystery, Michael Geither’s Ismene, directed by Daniel Mroz, takes us into the complex and precarious world of siblings Antigone and Ismene. As portrayed in Sophocles’ Antigone, Ismene is the saner sister who, while sympathetic to Antigone’s desire to do the right thing in burying their bother, is not prepared to endure the wrath of Uncle and King Creon for the sake of a corpse. Indeed, in both the original play, and in Geither’s text, Ismene is the one most anxious to cast off the mantle of the family tragedy for the pleasures of an ordinary life. But growing up under the shadow of incest and death places the normal out of reach. In this less than one-hour exploration of girlhood lived on the fringes of tragedy, the actors use singing, poetic encounters, movement, and a constantly shifting landscape of coffin-like boxes (courtesy of Paul Auclair) to express the isolation their parent’s fate has inflicted on their offspring. The poignant admission that it is Jocasta, their mother, who hanged herself, that they miss the most, rings particularly true. This chorus of actors, dancers and singers all deserve congratulations for excellent work. The uniform costumes of tank tops and shorts designed by Margaret Coderre-Williams contribute to a light and playful feel. While Mroz tells us that we really don’t know what Greek theatre might have looked like, one feels this play with its daring cast and well-balanced creative team has come awfully close.

Reviewed by laurie  Fyffe. Photo courtesy of the University of Ottawa theatre department.

Ismène ,  written by Michael Geither ,  directed by Daniel Mroz

Cast: With: Emily Bertrand, Emma Hickey, Jasmine Massé, Montana Adams, Zaakirah Chubb, Sophie McIntosh, Stefanie Velichkin, Kiara Lynn Neï.

Venue: University of Ottawa, Academic Hall.

 

 

Student review: Opening night performance of Bent

Student review: Opening night performance of Bent

Reviewed by  Carly Jevcak

What starts off as a booze and drug filled night turns into hell for Max as he brings home a man wanted by the Nazis, which upends his life. The opening performance of Bent by TotoToo Theatre at the Gladstone Theatre was a harrowing experience, but that says more about the content rather than the production. After being caught by the Gestapo in 1934 Berlin for being a gay man, Max is sent to the Dachau concentration camp where the only ray of sunshine is his developing secret relationship with fellow prisoner, Horst. The men try their hardest to survive under the most trying of conditions and find ways to subvert the prying eyes of the guards.

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Student review: Bent at the Gladstone.

Student review: Bent at the Gladstone.

Bent photo Maria Vartanova

Reviewed by Claire McCracken

Bent is a show with many warnings. The list in the program goes on and on: extreme violence, murder, rape; this is all too real for a play set in Nazi Germany. ToToToo Theatre, the only company in Ottawa that exclusively performs LGBTQ theatre, brings this Tony-award nominated play to life as best as they can. Dealing with difficult subject matter is a challenge, and director Josh Kemp deals with it in a way that avoided melodrama and told the story quite well.

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Student Review: Fresh Meat Festival

Student Review: Fresh Meat Festival

Reviewed by Crysania Sprott   THE 4333 A

The second evening of the sixth Fresh Meat festival which was held at the Arts Court theatre on Friday, October 13th offered up an nice selection of new works by artists in the Ottawa theatre community. The first three performances presented a good variety of pieces, and offered something for everyone.

 Le Crisp Bleu       

The first work of the evening provided the most lighthearted and frivolous fun piece of the show. “Le Crip Bleu”, which was conceived by Michele Decottignies, gave us an intriguing twist on a burlesque performance. While the show provided the expected dancing and stripping to sultry jazz music, the twist was that the performers (Frank Hull and Alan Shain) were two men in electric wheelchairs. The piece employed very creative use of wheelchairs to emulate burlesque moves, but adapted them to suit bodies which are otherwise limited. In this way, “Le Crip Bleu was able to challenge conventions of what is considered beautiful and sexy, while also simply being a lot of fun, both for the performers, who were visibly having a great time, and for the audience, who fed off their infectious energy and shouted and cheered them on.

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King of the Yees trips over its own plot.

King of the Yees trips over its own plot.

It doubtless started out as a viable, if overstuffed, idea.

Write a comedy about the erosion of Chinese culture and tradition when it’s transplanted to contemporary America. Illustrate the resonant theme of cultural identity by making the two main characters the likeable Larry Yee, a 60-year-old father who honours tradition, and Lauren Yee, his thoroughly westernized, Ivy League school-educated daughter who makes her living as a playwright.

Weave in a loving-but-fraught relationship between father and daughter and a search for personal identity. Set the whole thing in Chinatown, say it’s a true story, and call it King of the Yees.

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« Ovando », ou comment revisiter l’histoire

« Ovando », ou comment revisiter l’histoire

Janine Bailly  paru sur Madinin-art  22 octobre, 2017

Lors de ce moment ultime d’une représentation, nommé « bord de scène », l’un des comédiens nous dira, de la présence anachronique du magicien Volvéro auprès du gouverneur Ovando, — volver, revenir ? ici, revenir dans le passé, revenir sur le passé historique ? — qu’elle est destinée à nous rappeler, dans de constants aller-retours, la ressemblance entre autrefois et aujourd’hui, la similitude entre la colonisation par les puissances européennes au temps des “grandes découvertes”, la colonisation sous forme plus récente de territoires d’outre-mer, et l’aliénation qui d’une autre façon perdure.

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