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.
JUSTICE: A tragic event still searching for its stage presence

JUSTICE: A tragic event still searching for its stage presence

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Photo: Bruce Barrett

Playwright Leonard Linklater from the Yukon, and founder of the Gwaandak Theatre, has joined with dramaturg DDKugler on the West coast as well as director Yvette Nolan from the Native Earth Performing Arts group in Toronto to tell us about the tragedy of the two Tagish Nantuck brothers. It appears in two parts. The first part shows the meeting and the killing. And second part becomes the murder trial. The sequence of events is the following. The brothers executed two white gold prospectors during the period of the Gold Rush. I say executed because the deaths were shown to be ritual killings. Other prospectors had accidentally poisoned two native people with the cyanide used for mining the gold. The brother’s did not kill these white men as acts of vengeance but rather as a debt that the prospectors owed to the families of the dead. The killings were therefore justifiable from the point of view of the Native culture.

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Big Mama! The Willie Mae Thornton Story. Jackie Richardson takes us into the realm of legend!!

Big Mama! The Willie Mae Thornton Story. Jackie Richardson takes us into the realm of legend!!

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Photo: Tim Matheson

Jackie Richardson as Willie Mae Thornton

This show is several things! First it’s a fabulous blues concert with drums, keyboard, guitar and the wondrous  Jackie Richardson, an internationally acclaimed jazz, gospel and blues singer in her own right. The sounds, the musical accompaniment by the three excellent musicians that fuse with Richardson’s voice, backing up her performance as a singer will send you out into musical heaven because such a powerful concert of this calibre is rare in Ottawa

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Carte Blanche…dernière édition à l’Espace René-Provost

Carte Blanche…dernière édition à l’Espace René-Provost

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Lissa Léger dans Ciseaux

Carte blanche, une suite de rencontres entre artistes et public qui se déroulent à l’Espace René-Provost. Les auteurs dramatiques nous livrent des extraits, des synthèses, des ébauches, ou des fragments d’une œuvre en cours de développement.

Un concept intéressant!

25-27 avril, 2013

Ciseaux

Une création de Lisa L’Heureux, interprétation de Lissa Léger et Marie-`Ève Fontaine, mise en scène de Lisa L’Heureux avec l’appui de Catriona Leger.

Il s’agit d’un condensé d’une œuvre en voie de création. La forme raccourcie n’était pas trop réussie parce que l’absence des transitions brouillait les pistes mais la première scène entre les deux femmes a révélé une écriture qui repose sur une poésie urbaine d’une cruauté toute particulière. On a hâte de voir la suite de cette voix scénique émergeante…Nous avons aussi remarqué l’excellent travail des deux comédiennes

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Fool for Love: Un travail bouleversant!

Fool for Love: Un travail bouleversant!

Posté le 26 avril, 2013 dans  theatredublog.unblog.fr

Fool for Love  de  Sam Shepard, traduction de Michèle Magny, mise en scène de Kevin Orr.

Fool for Love   foolgetattachmentDans une chambre de motel minable, les  quinze spectateurs sont pris comme des rats voyeurs entre ces murs qui suintent le sexe, en compagnie de ces  deux personnages enfermés dans leur couple autodestructeur.  Le lieu choisi par la compagnie Les Cybèle est parfait:  ambiance crue, espace étouffant et bien adapté à cette rencontre entre deux êtres qui s’aiment et se détestent  avec une passion égale.
Il l’avait quitté pour une autre femme. May s’est enfuie  et  il l’a rattrapée: ils se retrouvent  maintenant dans cette chambre, après un long voyage à travers le désert, et les voilà en pleine fable western, où les bons et les méchants ne sont pas du genre évident et où la violence ne tarde  pas à se déclarer.

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Fool for Love: Animal lust and mysterious family ties illuminate this exciting performance in a Vanier Motel.

Fool for Love: Animal lust and mysterious family ties illuminate this exciting performance in a Vanier Motel.

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Photo. Julie Laurin

The grungy, gritty, hyper-realistic combat of a doomed couple in a seedy motel room in Vanier is a must see! Even if you can’t understand French, read the play (it’s not long) or get a short summary on line, and get a ticket. It means 70 minutes of sitting on a chair facing that huge bed where Yves Turbide (Eddy ) explodes in rage and jealousy, where Nathaly Charrette (May) buries her head in her body and releases her torment as she is pulled between her violent attraction for Eddy and her hate for the man who abandoned her. It all plays out under the strange gaze of the mysterious father (Paul Rainville) who watches them as he plucks on his guitar. He appears to know them but he remains invisible until the past is revealed and he appears to drift into Eddy’s vision of the world as the past tells us of the “other” family Eddie discovered when he was young. Even this near mythical father figure from the past learns about the death of one of his wives, and as the truth about his links to the transgressive relationship between May and Eddie comes to light, we understand their feelings of being trapped like animals in their own uncontrollable instincts for the rest of their lives. Sam Shepard takes us into a Wild West cowboy world that is fraught with all the complexities of contemporary human relations.

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The Taming of the Shrew: Clearly, Bear & Co is still seeking a theatrical style

The Taming of the Shrew: Clearly, Bear & Co is still seeking a theatrical style

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Photo: Andrew Alexander

The evening begins with a long note in the programme by director Eleanor Crowder explaining her directorial choices. “He (Shakespeare) is running pure Commedia gags here, the staple of a company used to touring  market places and dodging rotten apples”.    That is not a good sign. First of all a European style frontal theatre is not a normally raucus commedia setting and no one could possibly reproduce that so why bring it up.? In any case, the show speaks for itself so if the director felt the need to explain, that means she feared we wouldn’t  get it.

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The Laramie Project: Algonquin College’s Production is a Fine Example of Verbatim Theatre.

The Laramie Project: Algonquin College’s Production is a Fine Example of Verbatim Theatre.

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Photo: Andrew Alexander

The Laramie Project, first produced in 2000 is a particularly powerful form of docudrama conceived by Moisés Kaufman and Tectonic Theatre Projects. This group of actors from New York decided to create a staged work based on the story of Matthew Shepherd, the young man beaten to death in 1998, the victim of a hate crime in Laramie Wyoming.

The play tells us how the actors made 60 visits to Laramie, conducted 600 interviews with all the towns people, with witnesses, family, friends, police and everyone who had anything to say about the crime.

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Edmond: Mamet and the Hintonburg Theatre take on New York in the Carleton Tavern

Edmond: Mamet and the Hintonburg Theatre take on New York in the Carleton Tavern

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Photo. Courtesy  Chamber Theatre Hintonburg.

Chambre Theatre Hintonburg is back at its favorite venue, the Carleton Tavern on Parkdale Ave, performing on 10 square feet of space amid noisy tavern patrons and theatre aficionados. The mixed crowd is a great atmosphere for certain kinds of theatre and this time, they have chosen a relatively unknown play by David Mamet that suits the tavern site perfectly.

Edmond is about the descent of a man into hell, his own private hell, represented by a violent, and terrifying New York city. Edmond is the first play that Mamet ever located in New York but he certainly has captured the essence of that city bathed in fear, as it was in the 1980’s, the pre Giuliani era before the arrival of that tough mayor (1994) who cracked down on crime.

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The Edward Curtis Project: A text that flounders but a ritual event that brings to life a phantasmagoria of magical stage effects

The Edward Curtis Project: A text that flounders but a ritual event that brings to life a phantasmagoria of magical stage effects

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Kevin Loring as The Chief. Photo: Andrew Alexandre

The Algonquin Elder Annie Smith St- Georges from the Kitigan Zibi Anishinabeg First Nation, blessed the audience, thanked the creator for respecting all creatures on the earth and for letting us enjoy the gift of art from her culture. At her side was Professor Claudette Commanda also from Kitigan Zibi Anishinabeg First Nation, a professor at the University of Ottawa, daughter of the late Chief William Commanda, whom Peter Hinton had often invited to initiate his launchings of the NAC English theatre seasons. With such prestigious representatives from the Native community, inviting us into this theatrical ceremony at the Irving Greenberg Theatre Centre, a special aura floated about us as the mist seeped out from the stage announcing the arrival of the ancestors and the spirits, called up by the performance. Around the sides of the stage, the works of photojournalist Rita Leistner linked with the photographs of Edward Curtis, enhanced by Tim Matheson’s projection design and John Webbers magnificent lighting, created effects that ressembled the phantasmagoria of a deep seated dream.

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The Changing Room (La Loge): un divertissement qui touche au plus profond de l’acte théâtral.

The Changing Room (La Loge): un divertissement qui touche au plus profond de l’acte théâtral.

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Photo: Guillaume d. Cyr

The Changing Room (texte et mise en scène d’Alexandre Fecteau,) nous ramène vers une époque révolue du théâtre québécois, où les personnages troubles de Michel Tremblay dominaient la scène montréalaise.   Hosanna et La Duchesse de Langeais avaient quelque chose de comique et de pathétique . On retrouve une ambiance semblable ici sauf qu’Alexandre Fecteau a recours à des moyens scéniques plus contemporains. Les techniques de la  téléréalité, le docudrame, le spectacle interactif, l’improvisation et le théâtre Verbatim sont des moyens efficaces pour séduire la salle et lui donner une  expérience des plus inattendues.  Des scènes merveilleuses de « lip synch », de chorégraphie burlesque accompagnée d’une musique pop, des paillettes, des plumes, des talons aiguilles, des robes flamboyantes, le maquillage, les perruques de tous les styles et toutes les couleurs, éblouissent le spectateur.

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