Author: Alvina Ruprecht

Alvina Ruprecht is professor emerita from Carleton University. She is currently adjunct professor in the Theatre Department of the University of Ottawa.She has published extensively on francophone theatres in the Caribbean and elsewhere. She was the regular theatre critic for CBC Ottawa for 30 years. She contributes regularly to www.capitalcriticscircle.com, www.scenechanges.com, www.criticalstages.org, theatredublog.unblog.fr and www.madinin-art.net.
A Christmas Carol at the Gladstone: Mr. Charles Dickens pays his respects and performs his story! A real treat for the audience

A Christmas Carol at the Gladstone: Mr. Charles Dickens pays his respects and performs his story! A real treat for the audience

Dickens14724594_1685276825120678_6821339433919411578_nPhoto: courtesy of the Acting Company.

John D. Huston, an actor we have seen many times before in Ottawa and who is in the habit of performing solo, is back in the city with a most beautiful evening of theatre within theatre.  He literally  becomes Charles Dickens, whisks us back to the 19th Century and plays Dickens the actor as he would have performed his own novella. It is a great pleasure to behold this writer who transforms himself into the various voices from his  text. because who more than he, would be so acquainted with these characters?  He  not only imitates them,  he transforms his face and body into those who are talking, he even creates a vocal sound scape: the ringing of the bells, the rattling of Marley’s chains, the howling of the wind, the noises that set the stage for the arrival of those ghostly creatures who scare poor Scrooge to death.

As a fellow who is trained in the melodramatic acting techniques of his day, Dickens makes everything seem larger than life, more intense than realistic thus emphasizing the  underlying gothic horror of the text, even bringing us closer to something that Edgar Allan Poe might have written since they were contemporaries.

This text represents the version that was cut down from the original three hour performance text, but augmented from the hour version we saw several years ago at the Manotick Fringe festival.

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A Christmas Carol at the NAC: beautiful visuals bring a Christmas decoration to life!

A Christmas Carol at the NAC: beautiful visuals bring a Christmas decoration to life!

Jack Volpe, Andy Jones

Photo Courtesy of the NAC. Jack Volpe and Andy Jones

A clump of sparkling white Christmas trees beckons to us at the entrance of the theatre telling us that the play has become part of the festive NAC landscape in a new way. Not just because A Christmas Carol has become a Christmas staple in Ottawa (gone are those British pantos which I loved so much) but also because this conception of Dicken’s work has a new existence, one that removes all that is dark, miserable, poor, disturbing and psychological. The event about the transformation of mean old Scrooge, the sad story of Tiny Tim and the poor Cratchit family and Scrooge’s frightening visits to his past his present and his future have been turned into a living Christmas decoration all fluffy, beautiful, seductive, dreamy, shiny, bursting with love, good feelings tinted with  the purity of pristine whiteness. Dickens meets Never Never Land!!! Visually, this production is unsurpassable. Glowing white clouds, given unlimited nuances of whiteness by Michal Walton’s magical lighting effects , reflect the tinges of blue, green and red transformed by  Bretta Gerecke’s set and costumes, as living creatures come to life in white wigs and flit around the audience just before the play begins.

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Cinderella: A child’s delight with a musical montage that brings joy to all hearts.

Cinderella: A child’s delight with a musical montage that brings joy to all hearts.

Cinderella

This lighthearted version of Cinderella is a  delightful evening  of classical ballet  for young people. Les Petits Ballets has included  two very proficient professional dancers.  Prince Charming (Evgeni Dokoukine,) whose leaps and acting talent brought much excitement to his performance as the Prince. The ball room in the palace that fateful night when little Cinderella appears in her dazzling blue magic robe (Haruka Kyoguch) with the stars twinkling on the top of her head, gave the prince the chance to show his acting talents as he tries to avoid the  terrible two sisters who  were so cruel to Cinderella. But the Prince and Mlle Kyoguch also a professional dancer kept the tension high and the pas de deux breathtaking as they whirled around the floor together dancing the night away in the prince’s palace.  Also excellent was the step mother (Jasmine van Schouwen ) who  brought strong acting  as well as very good dancing to her character role as the pushy mother.

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Une Femme à Berlin (Journal 20 avril-22 juin, 1945) de Marta Hillers, d’après la traduction française de Françoise Wuilmart, adaptation à la scène de Jean-Marc Dalpé, mise en scène de Brigitte Haentjens,

Une Femme à Berlin (Journal 20 avril-22 juin, 1945) de Marta Hillers, d’après la traduction française de Françoise Wuilmart, adaptation à la scène de Jean-Marc Dalpé, mise en scène de Brigitte Haentjens,

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Photo: Yanick MacDonald. De g. à d. Louis Laprade, Sophie Desmarais, Evelyne de la Chenelière,  Évelyne Rompré.

La notion d’abjection (Julia Kristeva) trouve son apogée dans le monde reconstitué par Marta Hillers dont l’Identité fut révélée en 2001 bien après la première parution de son journal en anglais (1954). Passé sous silence sous l’Allemagne de l’après-guerre, il fut enfin traduit vers l’allemand en 2002. La traduction française préfacée par le poète allemand Hans Magnus Ensensberger sert de point de départ de la collaboration entre l’auteur dramatique canadien J-M Dalpé et Brigitte Haentjens dont la création dramatique s’est toujours nourrie de femmes tourmentées : Malina, inspirée de l’œuvre de Ingeborg Bachmann,(2000), Mademoiselle Julie (2001), Médée-Matériaux de Heiner Muller (2004) ) ou La cloche de verre de Sylvia Plath (2004) entre autres.. Une femme à Berlin fut adapté par Jean Marc Dalpé et travaillé collectivement par la metteure en scène et son équipe de quatre comédiennes, devenu un quatuor de la mort, manière de mettre en relief la musicalité de cette langue et les diverses tonalités du personnage.

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The Daisy Theatre : ferocious humour fuels great theatre!!

The Daisy Theatre : ferocious humour fuels great theatre!!

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Photo: Alejandro Santiago: Little Woody Lindon and Meyer Lemon.

Ronnie Burkett is back in Ottawa, creating havoc and palpitations as he unleashes his special brand of ferocious humour on our city. This time, our creative genius from Western Canada, has freed himself from a narrative, from a script, from a specific lineup of acts as he puts many of his performance choices in the hands of his favourite audience: menopausal ladies and gay guys!! Yes the audience is offered choices and thus, no one is spared, everyone goes through the Burkett meat grinder this time and one leaves the theatre with one’s head twirling!! Such a show!

This time he has created a theatre within his theatre, The Daisy Theatre proscenium puppet arch is set up in the middle of the stage. It features a sequence of performances by his puppet characters drawn from former shows but that appear on their own, putting on their own individual monologues that reveal their naughty secrets, the underbelly of their obsessions, their troubles and their true selves. They are cleansed of any serious narrative that turned them into characters in a play because now, they are on stage as “themselves”, that is, as manipulated by Burkett who takes advantage of the situation to confront his puppets, and ultimately to put himself in the foreground. His multiple voices, his flowing monologue, his quick and clever shifting from one situation to another as his characters tumble out nonstop is a marvel to watch and hear. He grabs the various puppets all set up backs stage, hangs over the little puppet stage, gives stage directions to the lighting people to the sound director and off he goes with no apparent prompter of any kind because there is no script as he keeps reminding us.

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Extremely Short New Play Theatre Festival. A good evening of discovery with some genuine surprises!

Extremely Short New Play Theatre Festival. A good evening of discovery with some genuine surprises!

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Photo of cast. Courtesy of John Koensgen and the Extremely Short New Play Theatre Festival

11 short plays presented one after the other , each one lasting a maximum of 10 minutes, selected out of a total of 150 from all over the continent, is a definite sign that this “Short New Play” event is catching on and enticing young writers to submit their work. Judging by what we saw opening night (Saturday Nov. 27) at the Avalon Theatre on Bank St. there are several individuals who can write for the stage and who are not at all hampered by time constraints, in fact it seems to propel their writing on. The difficulty is usually how to finish the piece and make it all tie together, or finish the evening by opening a new door to something even more exciting, distressing or disturbing!

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Empire of the Son: An important father-son portrait curiously dilluted by this production

Empire of the Son: An important father-son portrait curiously dilluted by this production

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Photo. courtesy of the NAC, English Theatre.

The Empire of the Son is a one man show that raises important questions which much contemporary theatre is asking. Questions of memory and migration, of individuals trying to define their identity by discussing their origins, or their parents origins, or the difficulties related to generational conflict, or fitting into a host society that did not always open its doors to these newcomers attempting to rid themselves of the trauma of rejection or violence suffered in the past. Such writers/performers such as Wajdi Mouawad, Mani Souleymanlou are emblematic of this but even more recently during Zones Théâtrales (Ottawa) we saw Sans Pays, by budding playwright Anna Beaupré Moulounda. She is a product of a Québécois mother and a father from the Congo, discussing growing up in Abitibi and what it meant to be an outsider. These cases are all different and they show how migration, generates multiple questions that each individual must confront.

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Hubbard Street Dance Chicago: A judicious choice of choreographers that creates a revealing evening.

Hubbard Street Dance Chicago: A judicious choice of choreographers that creates a revealing evening.

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Photo. Tod   Rosenburg . Falling Angels by Jiri Kylian, music by Steve Reich.

There is no doubt that Hubbard Street Dance Chicago is focusing on an extremely contemporary realm of performing bodies that is having important consequences on the way we see “dance” and on the way we speak of an activity called “dance”” but which definitely needs a new designation . Let’s just say, last night we saw and heard “life in movement” as the Company prefers to name what it does.

In keeping with this orientation towards corporeal research, the Hubbard Street Dance has brought together some of the most important names in contemporary dance whose works were already created earlier in Europe. However, presented together in this special evening, the connections and the links between all these choreographers become all the more obvious and extremely revealing: the way their perception of the moving body and its relationship to sound and choreographed movement, appears to be even more closely tied to recent technology, to the way bodies are exposed and defined through contemporary images, videos, tablets, iPhone, all the means currently at our disposal to project and redefine the human creature, without necessarily showing the audience these sources directly. Whizzing throughout the internet, human consciousness becomes the expression of disarticulated body parts that almost appear to disengage themselves from the human brain and become involuntary reactions , provoked by the physicality of sound around them.

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Straight Jacket Winter: Une poétique de chaos de grande envergure!!

Straight Jacket Winter: Une poétique de chaos de grande envergure!!

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Photo. Renaud Philippe

L’esprit de Réjean Ducharme (l’Hiver de Force, prix du gouverneur général) plane sur ce spectacle. Un couple, emblématique de la contreculture des années 1960-70, en proie à une profonde solitude et un malaise existentiel, se déplace à travers le pays. Ensemble, ces jeunes sont à la recherche d’un « paradis perdu », qui donnerait du sens à leur vie quotidienne inhabituelle, un espace qui serait leur « chez eux » dans ce Canada hivernal  qui ne semble pas vouloir les accueillir. Ils sont désormais installés à Vancouver, l’autre bout du pays, loin de leur monde montréalais où ils ont du mal à se faire des amis. Toutefois, même lorsqu’ils reviennent voir la famille au Québec, ils ont l’impression que la vie les a dépassés, ils n’y sont plus tout à fait chez eux. Voici que les contestataires des années 1960 deviennent des figures emblématiques de la postmodernité puisqu’ils incarnent le flux constant de l’existence et ils finissent par se retrancher dans leur seul refuge leur petit appartement , où  seuls leurs rapports passionnels, leurs pulsions créatrices remplissent l’espace/temps de leur existence.

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The 25th Annual Putnam County Spelling Bee: A joyful production of a less than amusing play!

The 25th Annual Putnam County Spelling Bee: A joyful production of a less than amusing play!

 

thumbnail_SpellingBee2Photo. Courtesy of  Indie women productions.

The world has changed since this Tony Award winning show (book by Rachel Sheinkin, music and lyrics by William Finn) was created in 2005  but  somehow, in spite of Kodi Cannon’s exciting  Broadway style energy and classy choreography, this Spelling Bee grated on my nerves. The Indie Women are noted for some fine productions and we loved their recent fund raising event Next to Normal featuring Skye MacDermid and Wendy Berkelaar’s  group that did justice to Rebecca Feldman’s music, giving a highly professional touch to the evening. As is their custom , the Indie Women  bring us this show as a  fundraiser for the “Do it for Daron”  foundation, linked to the  Royal Ottawa Hospital and its ongoing research into  the devastating effects of mental illness .

This event at the Gladstone  features  six actors as the young constestants all driven to win the  spelling contest for many different reasons, all of which are played out  in flashbacks and choreographed moments of excellent theatre  as the troubled backgrounds of each of the contestants are  intertwined with the funny improvisations produced by  each of the four randomly selected guests who are added to the chorus of spellers. These guests are thrust on stage as the  outside spellers  who do their best to hold their own  spontaneously, while the scripted spellers have to take on a character and explain their choices.

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