Author: Capital Critics Circle

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Hommage à Jean-Louis Roux

Hommage à Jean-Louis Roux

Professeur Tibor Egervari,  l’Université d’Ottawa

Un héros et un honnête homme

On appelle âge héroïque d’une activité humaine la période des commencements, celle où tout est encore possible et où l’acte de fondation est l’œuvre de héros dans le sens mythique du terme. Jean-Louis Roux, qui vient de disparaître, fut l’un de ces héros du théâtre québécois, voire de tout le théâtre canadien.

Sa biographie, disponible ailleurs, rend compte d’une vie longue, riche et intense. Personnellement, je ne veux qu’exprimer l’immense gratitude que toute personne touché par le théâtre doit à ce héros, notre héros. Nous lui devons une certaine idée du théâtre et du service public, car la contribution de Jean Louis Roux ne se mesure pas seulement par l’aune de la quantité des réalisations ou par leur qualité artistique. Elle est aussi, et pour moi elle est surtout, dans la façon exemplaire de probité, d’ouverture et d’élégance avec laquelle Jean-Louis Roux a exercé son art pendant plus de sept décennies.

Convaincu de la justesse de ses idéaux, il n’a jamais transformé l’adversité en haine ni l’opposition en mépris. Sur le plan professionnel il savait reconnaître et soutenir le talent, même aux dépens de sa propre orientation esthétique. Il était de ceux qui croyaient profondément en la confrontation bénéfique des idées et des visions artistiques. Ses qualités, nourries par sa vaste culture, ont fait de lui une des rares réincarnations modernes de ce qu’on appelait au XVIIe siècle, un siècle qu’il aimait tant, un honnête homme. C’est donc en honnête homme que Jean-Louis Roux, le héros, a fait du théâtre. Un précieux exemple dont nous lui sommes infiniment reconnaissant. Merci monsieur Roux, merci Jean-Louis.

Paul Rainville wins Audrey Ashley award (2013-14)! Ottawa U. gets Student theatre award!

Paul Rainville wins Audrey Ashley award (2013-14)! Ottawa U. gets Student theatre award!

Capital Critics Circle Announces Fourteenth Annual Theatre Awards

J. P. Kelley wins best production: Princess Ivona takes the Student theatre production.
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OTTAWA, December 2, 2013 – The Capital Critics Circle today announced the winners of the fourteenth annual theatre awards for plays presented in English in the National Capital Region during the 2012-2013 season. The winners are:

Best professional production:

SevenThirty Productions’ November by David Mamet, directed by John P. Kelly.

Best community theatre production:

The Ottawa Little Theatre production of Steel Magnolias by Robert Harling, directed by Tom Taylor.

Best student production:

The first winner of this new category is Princess Ivona by Witold Gombrowicz, directed by Ekaterina Shestakova, University of Ottawa, Directing program.

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Goodnight Desdemona, (Good Morning Juliet) at the GCTC: a lively tale of self-discovery that at times seems burdened with trying to live up to the play’s reputation,

Goodnight Desdemona, (Good Morning Juliet) at the GCTC: a lively tale of self-discovery that at times seems burdened with trying to live up to the play’s reputation,

desdemona5GetAttachment.aspx  Photo: Andrew Alexander

Ann-Marie MacDonald’s clever play GOODNIGHT DESDEMONA, (GOOD MORNING JULIET) is a lively comedic tale of self-discovery. Graduate Assistant Constance Leadbelly, who is obsessed with tracing obscure Shakespearian sources, is suddenly catapulted into the worlds of OTHELLO and ROMEO AND JULIET. She inadvertently transforms them into comedies by saving the lives of the two leading ladies. In the world of the plays, the dialogue is in nifty iambic pentameter. There are sword fights, disguises, and seductions. In Act II there’s some entertaining gender bending, prompting Desdemona’s forlorn cry, “Does no one in Verona sail straight?”

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Hamlet (solo): A Party Piece at the National Arts Centre

Hamlet (solo): A Party Piece at the National Arts Centre

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Photo: Andrew Kenneth Martin.

HAMLET (solo) is a one-man play created by featured actor Raoul Bhaneja and director Robert Ross Parker. It’s a slightly truncated version of Shakespeare’s HAMLET in which Mr. Bhaneja, plays, or rather indicates, all seventeen characters. Working on a bare flat stage surrounded by black drapes and using no props, Mr. Bhaneja wears a simple black long-sleeved tee-shirt and black jeans. The lighting is utilitarian and the house lights are only dimmed to half, so the actor is clearly visible when he moves into the audience.

First let me say that if you’re not pretty familiar with HAMLET, despite the detailed synopsis in the program, you’ll find it confusing. It does provide an ego boost for those in the audience who clearly follow it. Mr. Bhaneja is physically very facile and uses primarily body language to delineate the characters. However in playing all seventeen roles the emotion and depth of the original characters is lost. We’re left with hollow physicalizations. Granted it’s quite a feat of memorization, but so is any solo show. Think, for example, of I AM MY OWN WIFE, A THOUSAND EYES and the work of Pierre Brault. These are solo pieces that present many characters, but with great depth.

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Visage de feu au Périscope: flambée onirique

Visage de feu au Périscope: flambée onirique

Réjean Vallée (le père), Joanie Thomas (Olga), André Robillard (Kurt) et Diane Losier (la mère) dans Visage de feu. Photo by Gilles Landry
Réjean Vallée (le père), Joanie Thomas (Olga), André Robillard (Kurt) et Diane Losier (la mère) dans Visage de feu.
Photo by Gilles Landry

Critique par  Joanne Desloges.

(Québec) Montée en 1999 par Thomas Ostermeier, qui signait le mémorable Un ennemi du peuple au plus récent Carrefour international de théâtre de Québec, la pièce Visage de feu a été traduite et modelée par le Théâtre Blanc, qui nous offre une adaptation québécoise qui s’annonce aussi surréelle que percutante.

L’objet théâtral est entre les mains de Joël Beddows depuis quelques années déjà. Le metteur en scène et directeur du Département de théâtre à l’Université d’Ottawa a accroché autant sur la forme que sur le fond du texte de l’Allemand Marius von Mayenburg, auteur, dramaturge et traducteur depuis près de 15 ans pour la Schaubühne, compagnie dirigée par Thomas Ostermeier à Berlin.

Visage de feu relate l’éclatement d’une cellule familiale, mais aussi d’une société post-industrielle où la famille, le temps, l’espace individuel sont en mutation. Deux adolescents, Olga et Kurt, un frère et une soeur, se révoltent contre la cage dorée aux barreaux extensibles où leurs parents, surtout leur père, les maintiennent depuis l’enfance.

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Princess T. – Imaginative interplay of tragi-comic grotesqueries

Princess T. – Imaginative interplay of tragi-comic grotesqueries

Princess T
Princess T, Photo by Annie Thomas

Review by Dimitri and Vildana Stanisic-Keller

University of Ottawa Drama Guild’s production of Princess T. that runs from October 29th to November 02nd (at 8:00pm) is a richly conceived and daring drama..

Tuesday, opening night, it was close to 7:40pm. when we approached the Academic Hall entrance. There was a sense of confusion due to a locked door with a sign “Silence! The show goes on”. People, spread around as cautious loners, were reading fliers and suspiciously gazing at newcomers. And before you could ask your partner “What’s going on?”, there is a storm of Czech cabaret style clowns (dressed and made-up for Halloween party) surrounding you and whispering “Are you here for Princes T.?”, pulling out some folded paper and thrusting it in your hands. We only glanced at ‘CENSORED’ stamped over the newspaper article with the heading “To ensure peace in the country”.

The psychology of conspiracy is in the air .We don’t say a word but follow them quietly around the building to the back door. The atmosphere of restricted solidarity, boosted by the descent into the catacombesque underground, continues after a door opens and we are back-stage. Quiet, because of the rehearsal that is apparently going on, we look for the next instruction that will tell us what to do. The auditorium is covered with some dirty sheets, except for the first two rows where most seats are marked ‘reserved’.

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Tartuffe for Today

Tartuffe for Today

Tartuffe
Tartuffe, Photo by Andree Lanthier

The NAC English Theatre has opened their season with an unusually lively production of Moliere’s TARTUFFE, the play that skewers religious hypocrisy.  This is not your father’s TARTUFFE.  Very loosely adapted and even more loosely translated by Andy Jones, this version is set in 1939 at the home of a wealthy merchant on the South Coast of Newfoundland.  Mr. Jones has retained Moliere’s plot, characters and even his rhyming couplets. The couplets are in the vernacular, which adds to the humor, in particular the incongruities of contemporary slang and sexual references.

Patrick Clark’s sumptuous two-story 1930s set is complete with exterior balconies, other houses silhouetted in the distance and even a laundry line.  I especially liked the moose head and portrait of Queen Victoria and the use to which they were put.  Rebecca Picharack’s lighting was fine and Marie Sharp’s costumes on the whole excellent, right down to the seams in the ladies’ stockings.  Mariane’s black shoes struck a discordant note, but both Elmire’s wig and Act II dress were very good.

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Capital Critics Circle Announces Nominations for 2012-13 and Adds Student Award Category

Capital Critics Circle Announces Nominations for 2012-13 and Adds Student Award Category

OTTAWA, October 23, 2013 – The Capital Critics Circle today announced the nominees for the fourteenth annual English-language theatre awards for plays presented in the National Capital Region during the 2012-2013 season. The Circle has expanded this year’s list to include an award for the best student production.

The nominees are:

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You Fancy Yourself: Funny and Poignant

You Fancy Yourself: Funny and Poignant

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Maja Ardal as June McCready. Photo by GCTC

YOU FANCY YOURSELF by Maja Ardal, a Contrary Company production currently running at GCTC, is both poignant and funny. It’s performed by the playwright who, in the course of the play, shows us 11 different characters. The main character is Elsa, based on the childhood experiences of the author. When her family moves from Iceland to Edinburgh, Elsa is faced with finding her way in a new culture and a new school. As the “new kid,” she juggles dealing with bullies, romantic crushes, the desire to fit in and the search for a new friend.

Along the way we meet poor and neglected Adelle, Elsa’s first friend who, as Elsa says, was “sending sadness all down the back of me.” In Act II Adelle has a wonderfully touching moment of triumph. There are also the school mistress Miss Campbell, the fearsome bully Frances Green, the smarmy teacher’s pet June McCready with her exclusive horse club and David MacDonald, the boy with the squashed ear who surprises everyone in the song contest.

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You Fancy Yourself: A deft and funny dissection of self-in-the-making; A beatiful and witty play.

You Fancy Yourself: A deft and funny dissection of self-in-the-making; A beatiful and witty play.

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Reviewed by Dimitri and Vildana Stanisic-Keller

Photo of Maja Ardal by  Andrew Alexandre 

In this one-person-show by author/actress Maja Ardal, 11 characters are intermingled in the unlimited creativity of a superb storyteller. . You Fancy Yourself is a deft and funny dissection of self-in-the-making and a poem to the daydream we choose to escape to when reality is intolerable and unwelcoming. “You may fancy yourself safe and think yourself strong. But a chance tone of colour in a room or a morning sky, a particular perfume that you had once loved and that brings subtle memories with it, a line from a forgotten poem that you had come across again, a cadence from a piece of music that you had ceased to play… I tell you, that it is on things like these that our lives depend. ” This quote from Oscar Wilde (Portrait of Dorian Gray) seems extremely appropriate here.

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