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Kanata’s Odd Couple Needs More Snap, Crackle, and Pop

Kanata’s Odd Couple Needs More Snap, Crackle, and Pop

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Neil Simon’s The Odd Couple first arrived on Broadway more than half a century ago, but time has not diminished its comic potential. In chronicling what happens when the neurotic, freakishly neat Felix
Ungar moves in with his good-natured but slobbish buddy, Oscar Madison, the play becomes a springboard for hilarity. But if you look beyond the crisp one-liners and the deftly-managed comic situations — and how did that linguini end up clinging to the kitchen wall? — you
also find a good deal of sharp psychological observation about how human relationships can misfire.

Kanata Theatre’s new production has several things going for it. To begin with, there is the work of Bernie Horton and Stavros Sakiadis in the two key roles.
Horton’s Oscar is very much the likeable slob the script demands. His housekeeping may be atrocious, the bedraggled sandwiches he offers his buddies on poker night probably constitute a risk to one’s health, and you may sympathize with the ex-wife who keeps nagging him on the  phone about his maintenance payments — but there’s something endearing and disarming about this Oscar in all his fallibility.
As Felix, Sakiadis adroitly gives us all the irritating foibles that will have Oscar climbing the wall within days — the hypochondria, the obsessive neatness, the fusspot fastidiousness that even has him distributing dainty doilies to the gang at the card table during one of Oscar’s poker nights.

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Perfect Pie: disturbing drama which might have benefitted from a more thoughtful staging.

Perfect Pie: disturbing drama which might have benefitted from a more thoughtful staging.

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Photo:   Andrew Alexander

Perfect Pie by Judith Thompson is the troubling portrait of a young woman Patsy trying to find herself after suffering the traumatic experience of a catastrophic train crash which involved her friend Marie and which changed both their lives dramatically. The play pieces together the memories  of events leading up to the horrendous crash, by going back to their childhood, by following the evolution of their friendship. Flashbacks whizz by as memories of childhood are played out between the two young girls and as the two close friends meet in a more recent time frame, the past and the present converge at the height of that traumatic accident, after which Marie mysteriously disappeared. What happened really?   What was the nature of their relationship?  How is Patsy supposed to piece together all the strange events that seem to reveal multiple layers of a deeply ambiguous identity that evolve from the image of an epileptic childhood?

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Through clever staging “Tuesdays With Morrie” becomes a heady meditation on death

Through clever staging “Tuesdays With Morrie” becomes a heady meditation on death

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Photo: director John P. Kelly

In a sense, Tuesdays With Morrie is a “prodigical son” story but from the eyes of the son. Based on the New York Times bestselling book by the same title, this is the theatrical adaptation penned by original author Mitch Albom along with Jeffrey Hatcher. After Albom leaves college and his beloved teacher, Morrie Schwartz, he falls into a pace of life that conflicts with the spirited world-view that Schwartz embodied. Sixteen years later, Albom chances on his former mentor by chance and learns that he has been diagnosed with ALS. Albom starts a reluctant pilgrimage to Schwartz’s house for a series of fourteen Tuesdays that end up being a catalyst for Albom’s own personal transformation.

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Le théâtre du Trillium (“On verra”) inaugure la Nouvelle Scène: une beauté architecturale qui va rayonner sur toute la région de l’outaouais.

Le théâtre du Trillium (“On verra”) inaugure la Nouvelle Scène: une beauté architecturale qui va rayonner sur toute la région de l’outaouais.

Photo. Marianne Duval                                  

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On verra est une création de Philippe Landry (auteur) et d’Eric Perron (metteur-en-scène), des artistes francophones émergeants de la région.  Un spectacle composé de fragments, de bouts de dialogues, de rencontres momentanées, de réactions  apparemment spontanées, d’une foule d’éléments qui indiquent un voyeurisme gentil et le tout début d’une réflexion dramaturgique accompagnée d’un travail scénographique minimaliste.   Des tranches de vie  qui révèlent la banalité de la vie d’un jeune couple: leurs conflits, leurs désaccords, les tensions qui les animent, les passions qui les excitent.  À un moment donné il est question d’un enfant mais voilà encore un projet qu’il faudrait définir.

Les deux  comédiens, Gabrielle Lalonde et Maxime Lavoie, incarnent  cette rencontre comme il le faut, surtout Mme Lalonde, en passe de devenir une comédienne hautement intéressante.  On note un début de  réflexion du  metteur en scène sur la manière  la plus efficace d’occuper l’espace de jeu, en faisant intervenir des moments de chorégraphie qui sont encore plus puissants  que la parole de l’auteur.  Le tout continue jusqu’à ce que l’équipe ait compris qu’il fallait s’arrêter pour éviter l’ennui. Pour le reste, “on verra”. Voilà que le titre annonce la suite de cette aventure intime qui va certainement évoluer…..

On verra continue à la Nouvelle Scène jusqu’au samedi, le 12 mars  à 19h30.

Pour information, téléphoner à  613- 789-7643  et consulter le site de la Nouvelle Scène. http://nouvellescene.com/

Chorus Line at Centrepoint: a production full of heart.

Chorus Line at Centrepoint: a production full of heart.

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Courtesy of Orpheus Musical Theatre

At the heart of Chorus Line is the huge contrast between the opening and closing scenes. The intentionally ragged beginning features some two dozen dancers, a few practising exercises, others meandering around, all anxiously waiting to strut their stuff so that the director will choose them from among their rivals for a place on the line. The closing number shows the dancers as a unit, the perfect backup for the star of the next Broadway show.

And the paradox of the creation of the well-oiled dancing machine, peopled by anonymous dancers moving in unison, is that, along the way, Chorus Line morphs into often tragic tales about the individuals and the life-and-death importance of this audition, the next and the many beyond that.

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A unified vision and deft artistic team make The Butcher a memorable play

A unified vision and deft artistic team make The Butcher a memorable play

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Photo: Andrew Alexander

An old man, clearly drugged, shows up at a police station wearing a Santa hat and military uniform. A meat hook skewering a lawyer’s business card hangs around his neck. This is the jumping off point for The Butcher by Nicolas Billon, playing now at the Great Canadian Theatre Company. It’s a pretty enticing teaser to begin with, but the real success of the play is the fact that it found its way into the hands of an impressive artistic team. From direction to design to acting – there are a lot of reasons that The Butcher just works but at the heart of it is a shared vision.

To reveal too much of the script is a disservice to future audiences, so suffice it to say: This is a play that is not what it appears to be at its inception. Playwright Billon weaves an unexpected and affecting story that weighs in on some heavy ideas, while rooting them in well-crafted characters. It’s the characters that drive the play, and here the cast rises to the occasion.

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Butcher: Message gets lost in physicality

Butcher: Message gets lost in physicality

Photo: Andrew Alexander
Photo: Andrew Alexander

What is it in us that turns a seemingly normal human being into a monster, capable of unspeakable acts? What triggers a terrifying, unstoppable evil in us? Furthermore, is a perpetrator any more a monster than his victim in search of revenge? What Nicolas Billonn tries to explore in his play Butcher is the violent side of human nature, and its thirst for revenge at any cost. The instinct, as old as humanity (“eye for eye, tooth for tooth”) is forbidden by societies, but in reality still embraced by humans, shows how little it takes to reach the realm of hatred – the kingdom of insane distraction, the dark place in us that leads to perdition, a road with no open ends and no chance of coming back. What is the strength of that horrific path that makes us confuse justice with ravage intentionally? Nicolas Billonn’s play promises exploration of all these.

It is 25 years after a civil war in an imagined Eastern-European country. A former officer who worked in a prisoner’s camp at that time is tracked down and caught by a group of his former enemies, including a woman who was his victim. They bring him in a staged police station where the drama unfolds, and revenge takes place.  Unfortunately, though promising a lot, the play does not deliver.  

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Butcher at the Great Canadian Theatre Company

Butcher at the Great Canadian Theatre Company

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Photo:  Andrew Alexander

Slumped in a police station chair at the beginning of Nicolas Billon’s Butcher, Josef Džibrilovo seems like the furthest thing imaginable from a man with a frightening past. Whatever potential danger his unidentifiable military uniform may signal is negated by the sagging Santa Claus hat on his head and the occasional twitch of his aging hands. But then much of Billon’s charged political thriller is about the shattering conflict between appearance and reality, and about how we can be suddenly caught up in the latter while blithely existing in the former.Butcher is also a difficult play to talk about without talking too much. Littered with enough twists and turns to induce terminal whiplash, it works by drawing you steadily deeper into a narrative web that can’t be revealed in much detail without spoiling the show for those haven’t seen it.

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Billon at the GCTC and Trottier at the Cube Gallery. An affinity for human cruelty and suffering.

Billon at the GCTC and Trottier at the Cube Gallery. An affinity for human cruelty and suffering.

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Photo: Cube Gallery. Gerald Trottier “Dead Person”. Last night at the Cube Art Gallery, down the street from the Irving Greenberg Theatre Centre where I was planning on seeing the first preview of Butcher, there was a Vernissage of an exhibition by Canadian artist Gerald Trottier, entitled “Wounded Creatures of the Earth”.  It is a series of watercolour and mixed media drawings, showing cruel images of human beings going through ritualized behaviour often related to Christian sacrifice, to revolution, to individual and collective suffering in the world, to poetic symbols of human figures torn apart, embedded in trees that evoke the crucifixion or human beings huddled together in distress or seeking warmth and comfort.

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Photo John Koensgen.   Down the street, Nicolas Billon’s play Butcher was opening an hour later the same evening, and it occurred to me that the Trottier exhibition was an excellent preparation for anyone intending to see Billon’s play.  Trottier’s work,  strongly influenced by images of Catholic based  sacrifice, martyrdom and uplifting redemption played out by unidentifiable human figures, is very near  the spirit of Billon’s play, which is  more deeply  anchored in the horrors of current history.  Billon’s work identifies the monsters of our time and rapidly fits them into recent events which bombard us every day on television and radio. In other words, Trottier the visual artist is the unquestionable visionary whereas  Billon, the playwright  makes the links  between  ancient and contemporary political culture producing  visual signs that are all recognizable.

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Strong performances can’t save a weak script and staging in Anton in Show Business

Strong performances can’t save a weak script and staging in Anton in Show Business

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Audiences at Anton in Show Business, from Three Sisters Theatre Company, get to glimpse the backstage drama as a group of misfits try to stage Anton Chekhov’s The Three Sisters. But as economic pressures and personal narratives unravel, the show becomes the background track to their quirky antics. The play parodies the New York theatre scene through a throng of one-dimensional characters, satirizes equity in the theatre, and makes digs at the impossibility of artistry. It’s a play that leans into its sense of irony, and it’s built for the audience who knows a thing or two about the realities of living and working in the arts.

The play unfolds on two levels. On one level, the characters are trying to put on The Three Sisters. On the other, they are aware that they are simply portraying characters who are putting on a play. The play employs this “metatheatrical” guise principally to satirize the convention. It is gimmicky by design.

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