Category: Theatre in Ottawa and the region.

Extremely Short New Play Festival: 2013

Extremely Short New Play Festival: 2013

Extremely Short New Play FestivalAn event like Ottawa’s Extremely Short Play Festival can often be variable in its pickings, and you must be prepared for the possibility of disappointment with some entries. On the plus side, the very nature of this event carries the promise that the disappointment will be short-lived as one 10-minute play gives way to another which may prove more compelling

A further plus factor — and the more important one — is the simple pleasure of discovery, which in the current edition of the festival can be applied even to those pieces which don’t quite make it. But, of course, the greatest pleasure lies in an encounter with an item like Pierre Brault’s Coach Of The Year, a beautifully realized play which zeroes in on an issue of growing concern — sexual abuse of young athletes by their coaches. Brault provides further evidence here that his mastery extends beyond the creation of one-man shows for himself. With this play, his fresh and unsettling insight into a sadly familiar theme is further bolstered by sterling performances from Brian K. Stewart as the coach whose appalling past is catching up with him, and from an anguished Eric Craig as a former victim now consumed by a pathetic need.

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Arms and the Man : Massingham’s exciting and disconcerting production is a mixture of performance styles that shows something is changing in Strathcona Park!

Arms and the Man : Massingham’s exciting and disconcerting production is a mixture of performance styles that shows something is changing in Strathcona Park!

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Photo, courtesy of Odyssey Theatre.

George Bernard Shaw’s Arms and the Man (first staged in 1894) is a parody of war, with certain character “types” you might find in the Commedia, while the title is taken from  the opening sentence of Virgil’s Aeneid, glorifying the heroic feats of war: I sing of arms and the man”. This decidedly mischievous Shavian spin on the Balkan Wars could justify director Andy Massingham’s attempt to locate this play in a tradition of masked popular theatre.

However, the challenge for a director is daunting because the situations are complex and the characters do not necessarily correspond to the types that one would expect from masked Commedia performance . Still, it turns out rather well, because Andy has the company thrusting ahead with a lot of energy and they get to the essence of this comedy by moving from silly histrionics, comic mime, to deep-seated and biting satire, spewing out what appears to be a contemporary take on current politics, on human foibles and war heroics that no longer have any place in our society.

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Hamlet: Violent and Contemporary. An Ensemble Piece That Opens The Way To Jacobean Vengeance Tragedies.!!

Hamlet: Violent and Contemporary. An Ensemble Piece That Opens The Way To Jacobean Vengeance Tragedies.!!

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Photo Courtesy Saint Lawrence Shakespeare Festival

Alix Sideris (Gertrude), John Koensgen (Claudius)

This cleverly snipped, tightened and neatly arranged script which clarifies the most vital moments of Hamlet’s descent into raging anger after the death of his father, keeps us on our toes from beginning to end. I almost had the impression I was watching a new reading of Hamlet as performed by that volcanic young actor Eric Craig, so aptly directed by Rona Waddington.

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Ottawa Fringe 2013. Occupy Me: theatre and yoga meet in this relaxing moment for the initiated and the uninitiated.

Ottawa Fringe 2013. Occupy Me: theatre and yoga meet in this relaxing moment for the initiated and the uninitiated.

Occupy Me by Bronwyn Steinberg and Sarah Waisvisz at Studio 311

An apparently real Yoga class lead by a Bronwyn Steinberg (Sarah Lotus Blossom in the play)  who is in fact a professional teacher of Yoga, slides between the boundaries of theatre and the Hindu rituals of Yoga. The teacher becomes a self-reflective character questioning her own involvement with the yoga faith and her engagement with the Occupy movement and all the political outcomes of her reflection on the well-being of the earth. Moments of humour blend with this pleasant moment of relaxation, and a chance to see the supple Steinberg at work with her  authentic exercises, for those who are into yoga (you can do the exercises with her) and even for those of us who are not part of the initiated. People left feeling good after that work out. Takes place in a rehearsal room on the third floor of the Theatre Department of Ottawa University.

Ottawa Fringe 2013 – In The First PLace by Insight Theatre.

Ottawa Fringe 2013 – In The First PLace by Insight Theatre.

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In the First Place’ is a series of personal monologues performed individually by seven courageous youths about their first experience with love and sex, including identity issues surrounding these age old topics.  At a sensitive time during their teen years, the orators emotionally express their ups and downs with raw honesty.  Well done, considering it is a first time for a few of the young actors to appear in front of an audience.
The stories told, deal with abuse, awkwardness, and growing up too fast.  They also tell of many firsts such as love, a kiss, sex, dates, fantasies, coming out, and what do people say when under the covers.  Simple props are used effortlessly by the performers.  On the sparse staging area, a chair, a blanket, a  glass and a pair of high heeled shoes add to the drama.

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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 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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False Assumptions: The title says it all!

False Assumptions: The title says it all!

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Poster from the production.

Lawrence Aronovitch’s latest play has an extremely interesting content.  It  revolves around the meeting between three eminent women mathematicians/scientists, emerging from different periods of  western history (400 BC, the 19th century and the early 20th century) who find themselves together  in a global space/time, on the upper level of the set, filled with  books and records. These are remnants of Marie Curie’ archives. These woman have been summoned back from the past by a young girl, a factory worker  who is dying of radium poisoning.  She wants explanations. 

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Absurd Person Singular: Fast Paced, Well Acted and Viciously Funny. A Winner

Absurd Person Singular: Fast Paced, Well Acted and Viciously Funny. A Winner

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Photo: Andrew Alexander

From top to bottom:

The Brewster-Wrights

The Jacksons

The Hopcrofts

Alan Ayckbourn, the master of  British Farce, has certainly inherited the gifts of  playwright Georges Feydeau who dominated the French theatre of the middle and upper classes at the turn of the century with his particular  form of farce.  As the doors slam, the dialogue bristles, split-second timing reigns and the characters enter and exit with the impeccable speed of a well-oiled machine, there is always a social commentary hidden somewhere in this mass of wound up humanity. However, contrary to Feydeau’s farces, this one cares less about who is sleeping with whom, although that does enter into the picture in a most class conscious moment where the “bit on the side” becomes a sign of upper class mobility  that excludes the tradesman and his “vulgar” ways. 

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