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.
Up to Low comes home at last to the NAC!

Up to Low comes home at last to the NAC!

Photo David Hou; Chris Ralph, Brendan McMurtry- Howlett, Attila Clemann

Ottawa to Wakefield in 1950 was a bumpy road covered with pebbles that used to make the car shake until the fenders came loose.  Such was the trip made by local cottage goers into the Francophone Pontiac but nothing as harrowing or as colourful as writer Bryan Doyle suggests . His memories are piled high with everyone’s stories filtered  through the expanding imagination of 15 year old Tommy, producing an epic  tale right out of western Quebec where even the vicious black flies have a role as the great villains of the plot, thanks to the opening solo by Pierre Brault. This is about local Quebec culture but Janet Irwin’s deft staging and the well written adaptation brings this story telling up to the level of mythology that resounds singularly like the magical arctic world captured by Robert W. Service’s  The Cremation of Sam McGee and .

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La Cerisaie: bits and pieces of pathos and ferocious humour are all that remain of the tragic content !

La Cerisaie: bits and pieces of pathos and ferocious humour are all that remain of the tragic content !

photo. Theatre TG Stan. Lopakhin, Firs, Lyubov

La Cérisaie (The Cherry Tree/the Cherry Orchard) presented by the Belgian company TG  STAN (i.e. Stop Thinking About Names)

The Flemish  TG Stan collective from Antwerp  chose to perform their version of Chekhov’s last play (1903-04), as a comedy where the tragedy was reduced to moments of pure pathos as  the actors free themselves from the  constraints of Chekhov’s  theatrical conventions.  The enclosed space of a dying society has flung open the windows and let fresh air flood into the theatre to produce  a counter discourse that brought this performance beyond  what we might expect.  This reading  was at times intriguing but at times disturbing because we seemed to lose something.

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Sal Capone: The Lamentable Tragedy of… the beginning of a most important dialogue initiated by this striking and moving staging of rage!

Sal Capone: The Lamentable Tragedy of… the beginning of a most important dialogue initiated by this striking and moving staging of rage!

Sal Capone: The  Lamentable Tragedy of ….Letitia Brookes, Tristan D. Lalla, Kim Villagante. Photo thanks to Urban Ink and the NAC.

This docu-drama or docu-fiction, a form of musical theatre  that ties together reality and fiction  inspired by real life tragedies , concerns  events that took place  in Montreal  (the death of an unarmed Freddy Villanueva in 2008)  and  the shooting of  unarmed Trayvon Martin in Florida  (2013)  which  set off the “Black Lives Matter” movement in the US .  We are immediately drawn back to Shakespeare’s    work The Lamentable Tragedy of Titus Andronicus (1623) whose ending is inspired by  Seneca’s  “Thyestes” .  The  Roman play  concerns  the horrific torture and death of  children due to the rivalry between the  twin brothers, Atreus and Thyestes .  Atreus, takes vengeance on his brother Thyestes by tricking him  into eating his own sons who have been slaughtered and served up on a plate.   The unimaginable  horror of cannibalism in this situation obviously intrigued Shakespeare who ends his version of Titus Andronicus  in a similar way .

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Dracula: Past representations of this story weigh too heavily on this performance

Dracula: Past representations of this story weigh too heavily on this performance

 

Dracula Photo WayneGlowacki Winnipeg Free Press. Sarah Davey

Dracula,   choreographed by Mark Godden, a production of the Royal Winnipeg Ballet.

Created in 1999 and performed for the first time at the opening of the  2005/06 Season of the Company,   it also came to the NAC  for the first time in 2006.

This was a ballet waiting to be staged with its luscious reputation of Gothic horror, based on Bram Stoker’s book (1897) that fueled so many exciting movies such as  the Horror of Dracula which  gave us the suave seductive count played by Christopher Lee, the first of a  series of British films  (1958 etc..)  where we also met Peter Cushing as Ven Helsing.  Also in the tradition  was  Murnau’s  silent film Nosferatu in 1922   (starring Max Shreck) a later  adaptation from Stoker’s character that caused years of court cases because  the script was not officially authorized  by Stoker. And since then, the  legend has  been recreated and  reimagined  by so many artists of the screen.  

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Betroffenheit :Corporeal exchange as innovative now as the work of Pina Bausch in the 1970’s

Betroffenheit :Corporeal exchange as innovative now as the work of Pina Bausch in the 1970’s

Betroffenheit.
PhotoMichael Slobodian

Betroffenheit (consternation, a state of shock, dismay) a coproduction by  Kidd Pivot Company and the Electric Company Theatre. Written by Jonathan Young, Choreographed and Directed by Crystal Pite.

Here Betroffenheit  indicates very quickly,  a state of trauma, set off by a personal crisis that the individual, a lone young man enclosed in a hospital room, has experienced but , cannot get out of his mind. In spite of the presence of a psychiatrist, and of  individuals who seem to want to help him, the grief and the personal tragedy have possessed him deeply and we see how he can never escape their consequences no matter how hard all those around him appear to be helping  him.

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Original production of Up to Low in June 2015

Original production of Up to Low in June 2015

Reviewed by on    Theatre in Ottawa and the region   ,

up-to-low-21

Photo. Sarah Hoy

The Arts Court Studio was miraculously transformed by designer Brian Smith, into a semi-country space , part barn, part lakeside cottage country, part bar in a pub somewhere up in the bush of Gatineau, Pontiac County and beyond. The story is narrated by young Tommy (Lewis Wynne-Jones) who takes us from Ottawa, back to his past and all the memories of his parents, and the Irish immigrant community that existed in the early 1950s.

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Blink: A Star is born on the Ottawa Stage

Blink: A Star is born on the Ottawa Stage

Blink, Plosive Theatre, Sophie: Gabriella Gadsby      Photo: Wayne Cuddington

 

Blink  by Phil Porter, a Plosive Theatre production

After performances in the UK, New York, all through Europe in multiple languages and even right here in Montreal, Blink by Phil Porter is presently in Ottawa in its English Canadian premier which is quite a feat for this Plosive theatre production playing at the Gladstone.  Blink  concerns  human relations as they develop through  virtual reality in our current society where  we can no longer escape  I -phones,  smart phones, tablets, texting and all forms of mediated communication that have taken over interpersonal exchange.  Paradoxically  however,  this show, which introduces us to a brilliant new actress  who has been studying and performing in UK,  leaves us  with a resounding sense of the “real-reality”  of the stage  because she incarnates her character’s physical and emotional presence so thoroughly

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Parfois le vide : Jean-Luc Raharimanana refait le monde.

Parfois le vide : Jean-Luc Raharimanana refait le monde.

 

Parfois le vide. Photo : Grâce au théâtre d’Ivry et le Tarmac. Jean-Luc Raharimanana et Géraldine Keller.

 

Après  une première lecture de  son  poème Parfois le vide  en Avignon  (juillet 2016), suivie d’une nouvelle étape  de   ce « processus de travail » poético-scénique ,   réalisée au Centre Wallonie-Bruxelles (Paris, 2016) accompagnée  de Géraldine Keller (voix, chant, flûte) , Tao Ravao (cordes)  et Jean-Christophe  Feldhandler (cymbales et percussions) ,   Jean-Luc Raharimanana,  poète,  auteur , metteur en scène,  chantre malgache de ce « putain de mondialisation », continue ses recherches sur les plateaux   du Théâtre d’Ivry et du Tarmac (2018).  Son spectacle le  plus récent est un quintette de voix, humaines et musicales.   Celles-ci  passant des tonalités les plus aigües  aux cordes les plus sombres, portent  l’auteur-acteur au comble de l’expression d’une « rage bestiale »!

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Epilogue d’une Trottoire d’Alain-Kamal Martial: drame en Madegascar

Epilogue d’une Trottoire d’Alain-Kamal Martial: drame en Madegascar

epilogue d’une trottoire,  2008
Photo grâce à la compagnie Nôtoire

Texte d’Alain-Kamal Martial, Saint Denis de la Reunion

Le Théâtre du Grand Marché qui a la mission du Centre dramatique de l’Océan indien, se trouve tout au fond du pavillon du « grand marché », comme un bijou qu’on cache pour éviter que les indésirables ne le subtilisent. Pourtant, ce bijou de création scénique ouvre grand ses portes à tous les publics de Saint-Denis de la Réunion, en leur offrant une programmation des plus stimulantes et un lieu de rencontre agréable où artistes et grand public prennent un verre, se côtoient, et échangent des idées. Ce théâtre reçoit souvent les productions d’outre-mer pour alimenter le dialogue artistique au grand plaisir des habitants de la région. C’est dans le contexte de cette programmation ouverte qu’un texte intitulé Épilogue d’une trottoire, œuvre jouée dans le « cycle de l’Étranger(s) » au theatre Notoire (le CDR d’Annecy), a été donné au Théâtre du Grand Marché cette saison.

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Le Dire de Di : la rencontre magique de la modernité et du monde archaïque!

Le Dire de Di : la rencontre magique de la modernité et du monde archaïque!

Le Dire de Di, Photo: Marc LeMyre

 

Lors de la lecture  scénique de ce texte qui a eu lieu à Ottawa en 20171,  nous étions enchantés par les  paroles d’Ouellette et la présence d’une comédienne remarquable, la fine et délicate Céline Bonnier dont le visage avait déjà  brillé dans  l’espace symboliste  des  productions de Denis Marleau,  (Les Aveugles  entre autres. ) Cette fois-ci,  les intentions du texte semblent un peu différentes alors que la mise en scène fait ressortir la complexité des voix et les sources variées de ce conte moderne qui présupposent le fond d’un monde des origines!

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