Category Archives: theatre
If David Suzuki and Tim Flannery collaborated with Cirque de Soleil and the Fifth Estate, they might come up with something like Theatre Gargantua’s new drama The Sacrifice Zone. Toronto’s Theatre Gargantua is a hearty theatrical feast—contemporary, multi-disciplinary, multi-media. In collaboration with Aussie/Brit playwright and human rights lawyer Suzie Miller, they have developed a challenging show which examines how much people might sacrifice for justice, their families, their jobs, and other sometimes conflicting priorities.
The story—which seamlessly incorporates mystery, social commentary, and philosophical dialogue—is conveyed through a collage of dialogue, movement, acrobatic dance and image projection. It’s not one of those things you watch and whisper to your companion “We could totally do that”.
Read my full review at http://www.postcity.com/Eat-Shop-Do/Do/November-2013/Theatre-Review-The-Sacrifice-Zone/
Take a look at what I’ve seen so far this month:
The most intensely Canadian play you are likely to see, Yukonstyle is not sentimental or didactic; it is a deep gaze into the soul of Canada. And it’s not just for Canadians. It’s being staged this year not only in Montreal and Toronto, but also in Paris, Brussels, Innsbruck and Heidelberg. Packed with Canadian context but devoid of cliché, Yukonstyle would be compelling fiction, yet much of the content is taken from too-soon-forgotten news reports and too-readily-dismissed police investigations. Over the past two decades, 600 native women in Canada have disappeared or been murdered.
On a cold Yukon night, with the gruesome details of the Robert Pickton trial unfolding on television, a rebellious and entitled white anglo teenage girl hitchhikes into the lives of a Japanese immigrant and her roommate who is tormented by questions about his native mother who disappeared from Vancouver when he was two.
English language premiere runs until October 27th.
Based on the 1870 erotic novel Venus in Furs by Austrian writer Leopold von Sacher-Masoch, from whose name is derived the word “masochist”, David Ives’ 2010 play Venus in Fur is a sex-charged gender politics comedy bridging the 19th and 21st centuries. It’s like Oleanna meets Pygmalion meets Dan Savage meets bell hooks. Closing October 27th.
Read my full review at http://www.postcity.com/Eat-Shop-Do/Do/October-2013/Theatre-Review-Venus-In-Fur/
Daniel MacIvor’s latest play continues at Tarragon Theatre until October 27th. When a couple of very different brothers learn their mother has died, they have to find a way to deal with each other, and her dog. You can tell it’s a comedy because the death comes at the beginning rather than at the end.
Read my full review at http://www.postcity.com/Eat-Shop-Do/Do/October-2013/Theatre-Review-The-Best-Brothers/
Les Misérables! Again? Isn’t that so 25 years ago? And yet, themes from Victor Hugo’s epic story — the Law versus the People, the 99 per cent versus the powers that be — continue to be reflected in the news. Do you see a parallel between the barricade in Les Mis and the G20 barricade? Do you hear the people sing, “Idle No More?” Even if not, the music keeps the audience coming back. Canada’s Iranian-born Ramin Karimloo as Jean Valjean is worth the price of admission.
This gritty new rendition of the world’s longest-running musical, with physicality in the performances evoking, more than previous productions, the brutality of the epoch and the story, has no gigantic Lazy Susan rotating the set and actors, which was a pivotal feature of the previous productions. Now the performers are the spectacle.
- “Would you strike your father?” “Would you hang your son?” Photo by Elizabeth Sawatzky
From the CBC website:
“The Fundy Fringe Festival Opened This Week”
Evan Andrew Mackay is a playwright and actor who’s home from Toronto to stage his new play Father Hero, Traitor Son.
A chilling discovery in my ongoing research for my play “Father Hero Traitor Son” which is to premiere in a few hours, on August 21.
My play refers to an escape attempt by four Canadian POWs; and while drafting a dedication I was looking up their full names, and discovered the date of their ill-fated escape attempt.
“On Friday, August 21st, 1942, four members of our group escaped from North Point including Sgt. John Payne H6016, L/Cpl. George Berzenski H6700, Pte. John Adams H6294 and Pte. Percy Ellis H6771 .” http://www.hkvca.ca/historical/accounts/williambell/chapter5.htm
Seventy-one years to the day. Let us remember them.
Father Hero Traitor Son is opening on Wednesday, so I probably won’t do another blog post before then. By the end of the month, I hope to resume regular blogging on Good Evaning.
New play, new blog!
The play and the blog are in progress. Please, read the blog, tolerate the self-promotion, and get ready to see the play at the Fundy Fringe Festival in Saint John, NB, August 21 to 25!
While spending the winter in my hometown Saint John, New Brunswick, I was doing research for my new play, Father Hero Traitor Son. Pondering how and where I might stage this historical drama, I wondered about the possibility of starting a theatre festival in Saint John, maybe even a Fringe festival. I thought, “That’ll never happen, or at least no time soon.” I came back to Toronto and theatre friends asked me if I was going to enter the new Fringe Festival in Saint John. I said, “!???!??!?” And so it was, and so I did. http://www.fundyfringefestival.com
Almost the only thing Father Hero Traitor Son has in common with the play I co-wrote and performed in at Toronto Fringe 2012, Eat, Poo, Love, is that it is based on real people and events.
Father Hero Traitor Son is about a decorated Canadian hero of the First World War, who had immigrated from Japan to British Columbia in 1905, and his son—born and raised in Kamloops—who was in Japan when World War Two broke out. At the end of the war, the son was on trial for war crimes.
This is a play about choices, fate, and identity. What defines a person as a Canadian, a hero, a traitor, a father, a son?
One might say it is audacious for a hakujin such as myself to write a play about complex sensitive issues central to Japanese-Canadian identity. To a certain extent it is an audacious undertaking. However, I am doing so at the suggestion of, and with input from, a direct descendant of the characters depicted, and furthermore, I am a Canadian writing about Canadians, and I am a son writing about father and son. (I did not take my research so far as to have a son.)
Father Hero Traitor Son will go into rehearsal in July. It will premiere in Saint John from August 21 to 25, and I am currently in Toronto. Rehearsals will happen either in Toronto or Saint John, depending where I find actors to play the lead roles:
- male, 50s, issei (Japanese immigrant to Canada), speaks with Japanese accent
- male, 31, nissei (Canadian son of Japanese immigrants), native English speaker
As time is short and the land is wide, I am asking auditioners to contact me as soon as possible so we can communicate by Skype or by submitting a video.
Please post your questions, suggestions or comments below, or contact me by email: evanwrites (at) gmail (dot) com
The Fundy Fringe Festival is looking for volunteers. Please help make this inaugural festival a success! http://www.fundyfringefestival.com/volunteers.html
Just as Marina Nemat and director Maja Ardal had to be selective when adapting Nemat’s astonishing memoir Prisoner of Tehran for the stage, so did I have to be selective in adapting a half-hour interview with the author and human rights activist to a brief online Q&A format.
One point I wasn’t able to include was part of Nemat’s response to my question about how she can balance addressing the wrongs committed in Iran against the misconceptions and general negativity many North Americans may harbour about Iran. She said,
“The world is talking about Iran having a nuclear bomb? …The people of Iran have not been losing their children to the nuclear program; they have been losing their children to the terrible disregard for human rights in that country. …the problem of Iran is the struggle for human rights, and it is hurting the Iranian people more than it is hurting anybody.”
She also spoke about the role of the arts in addressing human rights issues. She spoke of how theatre, painting, and so on, shed light on the shades between black and white that are see in the media. “CNN and the news fail to introduce the human side of the story. And this play and [my] books and talks try to put a human face to this very difficult situation.”
Please read what did make it into the published interview here:
World Theatre Day was on March 27. (See Stratford Festival message.) In fact, it was the 50th World Theatre Day (although John Malkovich’s brief message at UNESCO was trifling compared with Jessica A. Kaahwa’s 2011 message, A Case for Theatre in Service of Humanity).
Wait a minute, World Theatre Day? No one could challenge the validity of World Water Day, because water is a precious resource we all need and which is in a state of crisis and neglect. Who needs theatre. Wait, that is a question, and not a rhetorical one.
Who needs theatre?
I’ve heard it argued that the invention of photography made the art of painting obsolete. “Adios, Picasso; no use for you!” And some would say movies have made theatre obsolete. “Look at the size of that screen! So much bigger than life!” That is what theatre has that movies never will: life.
What is theatre?
Theatre is not just entertainment. Theatre is communication. A movie doesn’t respond to you, but a stage presentation does. Theatre responds to an audience and develops according to that response, over the course of an evening and over the course of the show’s run, and throughout the lifetime of the theatre company. Theatre is immediate and theatre changes. Theatre is change. A movie can get remade, but it will never be a living thing; its changes are static. Change in theatre is organic and interactive.
What I just saw.
I don’t go to see theatre often because, being an unknown playwright, I can’t afford to leave the apartment (in fact, I can’t afford the apartment). But at Word On The Street book festival last year, after agreeing to an exhibitor’s unexpected request that I read with her a scene from a script—out loud to passersby, who passed us by—I was rewarded with tickets to Tarragon Theatre, any show this season. I wanted to see their first show, Sarah Ruhl’s In the Next Room or ‘the vibrator play’, which sounded good, and was nominated in 2010 for a Pulitzer and a Tony Award—but it was a busy month and I couldn’t make the dates.
Now a show is on which is expected to win awards (for whatever that’s worth). The English premiere of The Small Room at the Top of the Stairs, by Quebec playwright Carole Fréchette, inspired by the tale of Bluebeard, deserves any award it can get, as far as I’m concerned. Not that it was my favourite play, not that I was moved to tears, not that I would recommend it to everyone; but it “worked”, it entertained, and it made sense.
But what did it mean?
The full 200 seat audience was not stingy with applause, but there was no standing ovation or curtain call. Some gave each other puzzled looks as they put on their coats. On the way out I heard one person ask another “Not to your liking?”
It is easy to dismiss anything that is unfamiliar. And what was unfamiliar about this play was that it didn’t spell things out Hollywood-style. It was like a good poem. It said things in a way that requires a bit of cogitation. It might mean different things to different people, but it should not have been meaningless to a native English speaker. To me, the characters were not the disturbed oddballs that they seemed to be on the surface; they were entirely ordinary people and alarmingly familiar, like some specific people close to me. It helped me reflect on how I, my friends, my family members, may often seem to one another like disturbed oddballs. But that is just on the surface (in many cases).
“Who has time for that?”
Lots of people don’t have time for lots of things that are important. Most people don’t sleep enough, don’t chew their food enough, don’t communicate enough. Yawn, chew, “No time to talk,” chew, yawn. If I don’t make time to make sense of Shakespeare or my parents or siblings, that will be my loss. Theatre is communication. Like understanding family, it is not always easy, but making an effort to understand is time well spent.