Anyone who felt a frisson of dread at President Obama’s request to Congress to authorize military force against ISIS should see this powerful production of British playwright David Hare’s “Stuff Happens.”  Originally produced in London in 2004 and in New York in 2006, Mr. Hare uses a fascinating mix of public record information, documented details and theatrical invention to chronicle the events leading up to the 2003 invasion of Iraq.  Twelve years on it has suddenly become frighteningly relevant.

The ensemble cast is exceptionally strong.  Unfortunately I have neither time nor space to mention them all.  The major players are all there.  George W. Bush is ably played by Stuart Hughes who, although physically different, captures Bush’s cocky belligerence. He’s surrounded by Greg Malone as the diabolical Donald Rumsfeld in an almost over the top performance that somehow works and the excellent Paul Rainville as the volatile Dick Chaney.  My companion commented that in the final scene he perfectly captured Cheney’s gleeful fat-cattishness.  It’s fascinating watching those two, along with Andy Massingham as an appropriately scary Paul Wolfowitz, manipulate Bush onto their chosen path toward invasion. …

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I’ve always been a fan of George F. Walker’s plays with their dark humor, unusual characters and plot twists.  Unfortunately I can’t say that about “Moss Park,” his two character 60 minute play currently running at GCTC.  The two characters are pretty much stereotypes and the plot predictable.  The fact that it’s produced by Green Thumb Theatre of Vancouver which produces theatre for young audiences perhaps explains why “Moss Park” feels like a cautionary tale for pre-teens.

The two characters, Bobby (Graeme McComb) and Tina (Emma Slipp), have a baby and no money.  They get together to try to figure out their future.  At least Tina does but Bobby, obviously a few bricks short of a load asks, “The future?  Like tonight?”  Among the possible solutions considered is Bobby becoming a thief.  His explanation of the ethics of stealing is mildly amusing.  Another option is the Army and Bobby has some funny lines, but his total ignorance is just not believable.  Both actors hail from Vancouver and do passable jobs with their predictable characters. …

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^Narnia coming soon, Photo. Kathy Arnold

Alice in Wonderland with the English Theatre Company of the NAC, Ottawa

Photos Barb Gray…

Phèdre. Centre national des arts, Ottawa.

Photo. Alexandre Bellefeuille

Gift of the Magi at

The Gladstone….

Photo: Barb Gray. Scott Florence and Margo Macdonald

What can I say about a play that within the first five minutes showers the audience with balloons and ends with the actors passing around trays of very tasty cupcakes? The world premiere of “Pomme and ‘Restes: Shipwrecked! On the Tempestuous Lost Island of Never” by A Company of Fools is partly a wacked-out version of Shakespeare’s “The Tempest” combined with The Three Stooges and Pythonesque word-play. It begins with a shipwrecked cruise ship dumping the five characters on an appropriately cartoonish desert island, designed by John Doucet.

The two clown characters are Pomme Frites, a lugubrious philosopher who wants to do “stand-up tragedy,” and ‘Restes, his none-too-bright rubber-faced sidekick. They’re wonderfully played by, respectively, Scott Florence and Margo MacDonald, co-authors of the script along with Director Al Connors. As for the script, I can easily imagine something happening in rehearsal that got the response, “Hey – that’s fun. Leave it in!”

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If you’re looking for an entertaining evening, “Do You Want What I Have Got? A Craigslist Cantata” currently running in the NAC Studio certainly fills the bill. Written by Bill Richardson and Amiel Gladstone with music by Veda Hille, the 80 minute chamber musical is quirky, tuneful, wistful and funny. Entirely sung, the lyrics are taken from or inspired by ads on Craigslist – some bizarre, some outrageous and some surprisingly touching. Not everyone needs a potato cannon or headless dolls, but we can understand the longing to make some kind of connection.

Robin Fisher’s simple set of a light-colored wood floor with a grand piano up left and percussion equipment up right is backed by a flat jungle gym of black piping. Her costumes are good, allowing for just enough minimal changes of costume pieces. Kimberly Purtell’s lighting is excellent, often providing a soft pervasive glow. I especially liked the hanging work lights.

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