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.
Spring Awakening The Musical: Orpheus Musical Theatre is now in the big leagues!!

Spring Awakening The Musical: Orpheus Musical Theatre is now in the big leagues!!

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Photo: The Orpheus cast and production team.

The original German version of the play was published in 1891 and then performed by Wedekind’s own company in 1906. Because of the subject matter where adolescents were concerned, it created much controversy and was not staged in German until after WWII while the American musical was first staged in 2006 based on a new English language translation that followed the one that appeared in 1917. Such a long and controversial history which also includes a movie, makes it difficult to keep track of this show which appears nowadays to fuse two time periods, two visions of the theatre, nevertheless producing a most stunning story and perfectly constructed scenario, built around a tragic vision of young people .

The play shows how a society that represses young people, brings with it all forms of destruction, even after the moment when the central sexual taboo has been transgressed, the downfall of all those who have grown with a sense of guilt in relation to their bodies, cannot be avoided. Tragedy is inevitable because the evil worm has been planted too deeply in their minds. . This devastating critique of the stern bourgeois society at the end of the 19th Century, is represented by the way young people listen to the needs of their bodies, and their most natural desires , but this awakening of sexuality is repressed by parents who imposed a military-like regime on their young ones at that time. And this in depth analysis of sexual repression relies on Freud’s news notions of the psyche that started appearing at the same period. The performance becomes a fascinating mixture of sexual fantasy, and real confrontation with unyielding social institutions that wield their power over natural human instincts.

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Des Ruines de Jean-Luc Raharimanana. Le théâtre malgache brille!

Des Ruines de Jean-Luc Raharimanana. Le théâtre malgache brille!

Des Ruines de Jean Luc Raharimanana, mise en scène de Thierry Bedard.

Des ruines bedard_rahrimanana_phchristophe_raynaud_de_lage-300x200Ce puissant monologue  du  poète malgache, Jean-Luc Raharimanana, déjà connu pour Les Cauchemars du Gecko présenté à Avignon est une révélation pour le public. Grâce à la transformation de l’acteur congolais Phil Darwin Nianga, connu jusqu’alors  comme humoriste et roi du «  stand up ».
Un jour, Thierry Bedard, a remarqué la « folie » de cet acteur pendant un de ses spectacles, et a compris que l’humour ravageur de cet homme occultait des dons d’un grand tragédien. Bedard ne s’était pas trompé . Le résultat: une rencontre entre le poème de Raharimanana, le jeu bouleversant de Nianga et le regard très nuancé d’un remarquable directeur d’acteurs et d’un adaptateur de textes à la scène. L’ensemble de cette petite équipe produit un spectacle dont la force humaine, poétique et artistique, dépasse le cadre habituel d’une expérience théâtrale et nous renvoie à la théâtralisation d’une pensée quasi métaphysique autour des conséquences de la colonisation en Afrique.

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Jacqui Du Toit sets fire to the Gladstone stage recreating her personal tribute to Sarah Baartman.

Jacqui Du Toit sets fire to the Gladstone stage recreating her personal tribute to Sarah Baartman.

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Photo:      Jacqui Du Toit as narrator in The Hottentot Venus Untold.

No actor would dare become Sarah Baartman, the young South African woman who was abducted from her native Cape Town in 1810 and whisked off to London and the continent where she was paraded around public fairs and popular entertainment spots, exhibited as a freak and a strange savage. Her anatomy titillated British audiences, excited French audiences and inspired French scientists to conduct positivist inspired experiments on her body just to determine whether she was a human being or a beast, shoving her inner parts into bottles of formaldehyde which ended up in the Musée de l’homme in Paris. Mme Du Toit who in no way resembles the “Hottentot Venus” clearly realized that the only way to establish a portrait of this tortured victim of racism and colonial cruelty, was to produce various testimonies of her life given by imaginary characters whose stories were based on historical fact. Given current advances in historiography, testimonials, like all forms of memory, are considered material which contributes to the construction of history. Such is the case of Latin American victims of torture or survivors of the Shoah , events where documentation is not always available and where official historians were not present. Yet those who suffered, or who observed the suffering, always remember what happened and that is what is highlighted in this show.

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The Servant of Two Masters renews commedia acting without betraying the spirit of Goldoni. A beautiful evening in Strathcona park.

The Servant of Two Masters renews commedia acting without betraying the spirit of Goldoni. A beautiful evening in Strathcona park.

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Photo. Barb  Gray/Zack Counsil as Brighella and Sean Sullivan as Pantalone.

This rollicking production of Carlo Goldoni’s The Servant of Two Masters , under the direction of Andy Massingham is intended to bring us back thirty years when Ottawa’s Odyssey Theatre Company first introduced Commedia dell’arte to the capital. This is in fact the same play but it isn’t the same production and that is the great lesson Massingham has taught us this time : adapting a play does not necessarily mean imitating slavishly the original text, the original style and the original way of performing the event. The question becomes therefore, when is a play no longer the play we thought we were watching?

I came across a similar dilemma this year with Dostoevsky’s The Double performed and directed by Adam Paolozza at the NAC, not because it was badly performed but because it had nothing to do with Dostoevsky’s novel except for some of the situations and some quotes from the original text that always appeared to be taken out of context. The problem was that Paolozza turned Dostoevsky’s disturbing book about paranoia into a clown show but the Russian protagonist is not a clown. He is going out of his mind in a nightmarish adventure .  Thus the Toronto  Company  might have advertised their version of the Double as a play “loosely inspired by The Double”.  As it was, their show was a serious misrepresentation of the Russian writer’s work and one could guess that Paolozza, who is interested in corporeal theatre, appeared to be using the text as a crutch for his own brilliant comic stage work that seemed to give little thought to the original narrative or characterization.

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“The Amazing Adventures of Pericles” introduce us to new faces of the Comedy of Fools!!

“The Amazing Adventures of Pericles” introduce us to new faces of the Comedy of Fools!!

 

A Company of Fools presents Pericles, Prince of Tyre, in parks across Ottawa, July 4 to August 20, 2016. From left to right: Mekdes Teshome, Mary Ellis, AL Connors, Jennifer Cecil l to r: Mekdes Teshome (standing), Mary Ellis, AL Connors, Jennifer Cecil. Credit: Andrew Alexander Photography Goes with 0706 review fools
A Company of Fools presents Pericles, Prince of Tyre, in parks across Ottawa, July 4 to August 20, 2016. From left to right: Mekdes Teshome, Mary Ellis, AL Connors, Jennifer Cecil l to r: Mekdes Teshome (standing), Mary Ellis, AL Connors, Jennifer Cecil. Credit: Andrew Alexander

The Amazing adventures of Pericles: Prince of Tyre By William Shakespeare, adapted by the Comedy of Fools, directed by Catriona Leger

This is the  breathtaking adventure of the  Prince who finds himself  fleeing the anger of  King Antiochus and  setting out  to hide from the hired killer who is  pursuing him around an imaginary image of the Hellenistic world  from Tarsus, to Pentapolis. They continue  across the great sea to  Ephesus where shipwrecks, storms and much disaster separate him from his wife (whom all believe has died) .   Pericles then  comes into contact with the temple of Diana and the Middle eastern world of Dr. Cermion.  Fourteen years pass, Pericles’ daughter Marina has grown into a lovely young lady but before the nasty jealous Queen Dionyza can do away with Pericles’ daughter , terrifying  pirates  kidnap her and sell her to the  brothels of  Mytilene,  where she is befriended by  Lysimachus the kind governor. And so it goes until all are united at the end.  It’s  easy to immerse oneself  in this humungous mixture of plots and adventures and catastrophes and encounters of the most fabulous nature that suggest a twisted sort of Odyssey where all the themes and characters of all those  epic tales inflame the imagination of young men. And Shakespeare was no exception.

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« Le serviteur de deux maîtres » renouvelle le jeu corporel sans trahir l’esprit de Goldoni. Une très belle soirée dans le parc Strathcona.

« Le serviteur de deux maîtres » renouvelle le jeu corporel sans trahir l’esprit de Goldoni. Une très belle soirée dans le parc Strathcona.

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Photo: Barb Gray.   Zack Counsil (Brighella)  et Jesse Buck (Truffaldino)

La compagnie Odyssey qui fait revivre le théâtre de la Commedia dell’arte au Canada anglophone depuis trente ans, remonte aux sources de la troupe en présentant cette nouvelle version de Le serviteur de deux maîtres de Carlo Goldoni.

L’intrigue et les sous intrigues sont d’une grande complexité. Truffaldino, le serviteur du titre, est au service de Florindo, l’amant de Béatrice, et de Federigo le frère de Béatrice. Tout se complique lorsque nous apprenons que Clairice (la fille de Pantalone) qui aime Silvio (le fils du Docteur Lombardi) est promise à Frederigo , le fiancé décédé depuis longtemps. Celui qui se présente à sa place est sa sœur Beatrice travestie , ce qui ajoute du piquant aux relations tempétueuses qui bouleversent ce microcosme de la société vénitienne. Le tout devient rapidement une accumulation de malentendus, de jeux d’identités, et d’intrigues secrets. Truffaldino qui a juré de respecter l’anonymat de ses deux employeurs, provoquent des rencontres spectaculaires, rocambolesques, chaotiques qui frôlent la farce la plus pure. Le rythme de ces orchestrations physiques qui font courir les serviteurs, les maîtres et tout le personnel de l’hôtel, coupent le souffle, surtout lorsque  Zack Counsil (Brighella) s’envole avec la legerete  d’une plume. Le masque a fait vivre son personnage!  Une belle prestance .

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Julius Caesar at the Saint Lawrence Festival: this youthful staging highlights an excellent Richard Sheridan Willis in the leading role.

Julius Caesar at the Saint Lawrence Festival: this youthful staging highlights an excellent Richard Sheridan Willis in the leading role.

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Photos: Drew Hossick

Julius Caesar  by Shakespeare, directed by Rona Waddington,

During the first moments of the play, the Roman tribune admonishes the silly  people of Rome for wasting their time rejoicing about Caesar’s triumph over Pompey : “You blocks you stones, you worse than senseless things!” Especially since the same crowd recently cheered Pompey when he came to Rome. In this first tableau, Shakespeare and director Rona Waddington make several points. The Tribune , a male role, is played here by a woman so we know we are in a contemporary world of theatrical fun (never mind Brecht) , especially as the carnival atmosphere bursts joyously onto the stage. The audience is seduced immediately . This first contact also emphasizes the important notion that the fickle Roman crowd is easily manipulated by any talented orator such as Mark Antony, Brutus or Cassius whenever it serves their purpose, and this is one of the important strategies of Shakespeare’s text which clearly appears to be indestructible, no matter what one does in the acting space.

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Temporada de Teatro Latinoamericano y Caribeño Mayo Teatral 2016

Temporada de Teatro Latinoamericano y Caribeño Mayo Teatral 2016

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Marco Vidal en Mendoza (Los Colochos de Mexico).    Vivian Martinez  y los colegas de la Casa de las Americas

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                                                                  Patricia Ariza de la Candelaria, Colombia.  (Camilo).  Photos: Alvina Ruprecht.

Ce Mayo teatral (2016) fut à la fois l’ouverture, par le théâtre, vers une nouvelle vision des Amériques et un voyage vers le passé. C’était avec beaucoup d’émotion que j’ai revu Roberto Fernandez Retamar, Président de la Casa des las Americas, monter sur la tribune, accueillir le public alors que dans les années 1970, nous avons reçu Dr. Retamar à Ottawa en tant qu’invité de l’Association canadienne de Littérature comparée à l’Université Carleton. (Ottawa). Maintenant, revoir ce vénérable monsieur sur la scène chez lui m’a fait un coup de nostalgie très forte.

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Festival Mayo Teatral_ Habana XVI . Triunfadela, notre UBU cubain!

Festival Mayo Teatral_ Habana XVI . Triunfadela, notre UBU cubain!

Triunfadela, conception et mise en scène de Nelda Castillo, présenté à La Havane.

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Photo: Ernesto Manuel Loupez. Comédienne: Mariela Brito.

Triunfadela ou la montée d’un Ubu cubain
L’incorrigible Nelda Castillo, cette artiste cubaine, qui a fondé la troupe El Ciervo Encantado, veut produire une réflexion sur les rapports entre l’art, l’histoire de son pays, les idées de l’ethnologue Fernando Ortiz, et les questions relatives au colonialisme et aux guerres de libération.

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Ottawa Fringe Theatre 2016: “Best Picture’” reveals the Academy Award ritual at its best!

Ottawa Fringe Theatre 2016: “Best Picture’” reveals the Academy Award ritual at its best!

Best Picture created and designed by Rick Cousins, produced by RibbitRePublic Theatre Co, from Vancouver.

We are on the red carpet with a host, a male actor and one female actor. They are going to take us on an ultra rapid journey through all 89 Academy award winning films, just to refresh our memory. The talk is glib host-style banter. They greet all the great stars as they walk in…!OH there is Judi Dench, there is so and so ..give her a hand” as the public files into the  Leonard Beaulne Studio. No doubt to give this more of an Academy award feel they should have programmed it in a bigger theatre but the three stage performers, made up for the small space with lots of vibrant energy.

It involves taking us on a rapid fly-by history of the Academy Awards by making quick funny remarks, acting out short skits and snapping witty references about different shows, so that the titles of the shows find their way into the discussion and can be easily identified. Linked to all the Wayne and Shuster style humour (at times) there is voice and body mimicry, (Al Pacino from Rain Man was one of the great moments) there are jokes which slide between various shows so that they all make fun of each other and themselves.. as the stars connect and jostle themselves into first place. It was very rapid and sometimes we lost the sense of who was referring to what but I gather in a town like Toronto where one of the worlds biggest Film Festivals takes place, film buffs will have no trouble at all.

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