Author: Iris Winston

A writer, editor, reporter and theatre reviewer for more than 40 years, Iris Winston has won national and provincial awards for her fiction, non-fiction and reviews. A retired federal public servant, she has seven books in print and writes regularly for local, regional, national and international newspapers and magazines, including Variety and the Ottawa Citizen. Iris lives in Almonte.
Les Misérables: An energetic show with solid performances

Les Misérables: An energetic show with solid performances

Poster: ASNY Productions
Poster: ASNY Productions

Les Misérables is a massive undertaking that offers both principals and ensemble members the opportunity to demonstrate their special talents — often one at a time.

Based on the 1862 historical novel by Victor Hugo, the sing-through musical tells the story of ex-convict Jean Valjean — imprisoned for almost two decades for stealing a loaf of bread — tracing his transformation and redemption between 1815 and the June Rebellion in Paris in 1832.

(Hugo based Valjean’s character on the life of Eugène François Vidocq, an ex-convict who became a successful businessman and philanthropist.)

The original French version was first staged in 1980 with the English-language production of Les Misérables appearing in London’s West End three years later to mixed reviews. More than 30 years later, it still plays to full houses and still receives some negative comments because of its melodramatic content and the perfunctory way it deals with certain aspects of the storyline. It is also a show that thrills s as many as it disappoints.

And there is no question that it is a huge challenge for any company. In a fine ensemble production, with first-class musical direction by John McGovern, the ASNY Les Miz, which involves close to 100 performers, musicians and crew demonstrates energy, commitment and some fine performances.

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Moss Park: Keeping hope’s door open

Moss Park: Keeping hope’s door open

Photo: Mark Halliday
Photo: Mark Halliday

When you have landed on the garbage dump of life, the only way to go is up. At least, that is how Tina, a single-mother with a toddler, thinks. Meanwhile, her on-again/off-again boyfriend, Bobby, dreams of better times but is seemingly incapable of dealing with reality or even holding a job for more than a single day.

Playwright George F. Walker introduced Tina and Bobby a decade ago in Tough. Then, she was pregnant and they were trying to deal with their future together or apart. In Moss Park, they are apparently three years older (judging from the age of their daughter) and they are drowning in present disasters.

Tina, her daughter and her mother are being evicted from their apartment because they are five months behind on the rent. She is pregnant again after a brief reunion with Bobby. Meanwhile, he has just been fired again and is considering a life of petty crime or discovering some talent — as a rapper, perhaps.

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Two: A solid production about human frailty

Two: A solid production about human frailty

IMAGEThink of ordinary folk at a local pub in northern England in the vein of Coronation Street or The Eastenders.

As the (unnamed) landlord and landlady bicker between serving assorted regulars on a busy night, the audience meets the customers through a series of vignettes. As directed by John P. Kelly, who breaks down the fourth wall by having some audience members seated at cocktail tables on stage, the audience is pulled into a kaleidoscope of short character sketches about human frailty. Alongside the occasional happy thought, they are presented with a series of images of drudgery, disease, domestic abuse and loneliness, even a child left behind when his drunken father forgets him outside the pub.

All 14 characters in Two are played by the publicans, who find various excuses to leave the stage and return in a new guise for the next segment.

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Clybourne Park: A worthy production despite a shaky second act

Clybourne Park: A worthy production despite a shaky second act

Photo: Maria Vartanova
Photo: Maria Vartanova

Racism, economic concerns and human tragedy sound unlikely themes for humour. Yet Bruce Norris’s savage satire, Clybourne Park, frequently prompts laughter — perhaps partly because of audience discomfort with being forced to face uncomfortable truths.

The title is taken from the fictional white neighbourhood in Lorraine Hansberry’s 1959 drama A Raisin in the Sun. The address of the house that has just been sold to a black family is the same. Even Karl, the smarmy head of the community association, who tries to block the sale, has the same name and official reason for his attitude. (It will bring the property values down, he says.)

From here, the multi-award-winning Clybourne Park draws back the curtains of any political correctness and goes into attack mode. Before the veil of politeness is ripped away — particularly in the first act — things move slowly. Inane chatter about the origin of the name of a type of ice cream or a discussion about capital cities take a disproportionate amount of time, until the antagonism and fear of “the other” is laid bare. 

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Freezing leaves a chill

Freezing leaves a chill

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Freezing is the kind of show that leaves me cold. It is low on original storyline, high on stereotypes and clichés and irritatingly silly.

Both hollow and exploitive, Freezing relies heavily on other genres to give the illusion that it has substance. It includes a dame (traditionally played by a man in English pantomime), a villain, complete with cape and moustache (drawn from melodrama), a couple of princesses (one of whom is apparently intended to look like the snow queen from the television series Once Upon a Time.) The general impression is that the creators have chosen to throw anything into the pot without regard to delivering a cohesive drama at any level.

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La Cage aux Folles: Fun show with periodic glitches

La Cage aux Folles: Fun show with periodic glitches

Photographer: Patricia Curtis
Photographer: Patricia Curtis

When La Cage aux Folles premiered on Broadway in 1983, the award-winning show was often described as the coming out of musical theatre.

Flamboyant, funny and potentially touching, the main theme was the power of love and the many ways it can be expressed.

In the 40-plus years since the play on which the musical is based hit the stage, the world has grown in understanding and tolerance. Therefore, the shock value of a show about a gay couple, with one of the pair the drag-queen star of the nightclub they run is virtually non-existent. That their son is about to become engaged to a young woman gets a mild reaction on stage only. The problem is that she is the daughter of a crusading homophobic deputy and the boy wants to bring his girl and their parents home to meet his family

In the Suzart Productions presentation of La Cage aux Folles, directed by Susan Fowler-Dacey, one of the most poignant moments is when Albin — the man who has nurtured his partner’s son for more than 20 years — is told to make himself scarce during the parental visit. In fact, Kraig-Paul Proulx as Albin and his alter ego, Zaza the drag queen, delivers a dramatically and musically strong performance at all times. Without question, he is the focal point throughout.

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The Railway Children : An enjoyable journey through the children’s memories at the OLT.

The Railway Children : An enjoyable journey through the children’s memories at the OLT.

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Photo. Maria Vartanova

Transposing from one medium to another is always challenging. Yet, The Railway Children has been made into a movie — several times — has been a radio play and, since 2008, a stage play by Mike Kenny. Adapting the Edith Nesbit’s children’s classic to the stage carries particular challenges. First, the storyline is episodic in nature, which can hamper the flow. Then, Nesbit, a committed socialist and one of the founders of the Fabian Society, uses the children’s adventures as a political platform. In addition, because The Railway Children is the youngsters’ view of the events that led to their family’s drastic change of fortunes, it requires a dusting of wonder in its delivery.

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Fidler on the Roof: This Production is a Splendid Anniversary gift.

Fidler on the Roof: This Production is a Splendid Anniversary gift.

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Orpheus Musical Theatre Society has given Fidler on the Roof a splendid 50th anniversary gift with its current production.

One of the best loved musicals of all time, Fidler on the Roof by Joseph Stein, with music by Jerry Bock and lyrics by Sheldon Harnick is based on the stories about Tevye the milkman by Sholem Aleichem, first published in 1894. The focus of the stories, the musical and the 1971 movie is on Tevye’s vain attempt to maintain Jewish tradition in a changing world. In addition to dealing with each of his three oldest daughters moving further away from the accepted custom of their father selecting appropriate husbands for them, he and his fellow villagers face expulsion from their home during a pogrom.

As directed by Michael Gareau, the Orpheus production is particularly noteworthy for its clarity, attention to detail and respect for the traditions that are Fiddler’s raison d’être. From the simplicity of the opening and the purity of the sound from Danny Albert’s violin through strong characterizations, fine ensemble work, assorted musical highlights and spectacular visuals, this Fiddler has a magical quality.

While the heaviest responsibility falls on the lead character — and Christopher Mallory brings a fine singing voice and a robust characterization to his Tevye — this production is marked by a number of high quality dramatic and musical performances, as well as by an interesting and suitably spare set design from Cindy Bindhardt and fine lighting effects from David Magladry.

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Extremely Short Play Festival: Smooth Direction and Some Sensitive Performances Highlight This 95-minute Collection of Short Plays.

Extremely Short Play Festival: Smooth Direction and Some Sensitive Performances Highlight This 95-minute Collection of Short Plays.

Creating a satisfying dramatic whole in a few minutes is often more challenging than writing a much longer piece. (Remember the adage: “Had to write a long letter. Didn’t have time to write a short one.”?)

Yet, at least three of the plays in this year’s edition of The Extremely Short New Play Festival are dramatically complete and consistently interesting.

Of particular note is Blue Fluted Plain by Adam Meisner, a wrenching tale of family tragedy that tackles the question of the impact on those involved by family connection. Quartet, Pierre Brault’s delightful, tongue-in-cheek look at speed dating, also makes a lasting impact.

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The Dixie Swim Club: A show with heart and humour

The Dixie Swim Club: A show with heart and humour

Photo for Phoenix Players
Poster for Phoenix Players

Swim together and stay close for the rest of your lives. This is the theme of The Dixie Swim Club by Jessie Jones, Nicholas Hope and Jamie Wooten, an ode to lifelong friendship in the vein of Steel Magnolias by Robert Harling and Crimes of the Heart by Beth Henley. And the many comic one-liners through the script give a nod to television’s Golden Girls (not surprisingly, as Wooten was one of the screenwriters for the show).

In The Dixie Swim Club, five Southern U.S. women, members of the same college swimming team, meet each year at the same beach cottage in the Outer Banks of North Carolina. Through their annual two-week vacation each August, they recharge their friendship and support each other through assorted life crises.

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