Tag Archives: tarragon theatre

I’ve Been at the Theatre

Take a look at what I’ve seen so far this month:

Theatre Review: Yukonstyle at Berkeley Street Theatre

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.

Read my full review at http://www.postcity.com/Eat-Shop-Do/Do/October-2013/Theatre-Review-Yukonstyle-at-Berkeley-Street-Theatre/

 

Theatre Review: Venus In Fur

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/

 

Theatre Review: The Best Brothers

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/

Theatre Review: Les Misérables

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.

Read my full review at http://www.postcity.com/Eat-Shop-Do/Do/October-2013/Theatre-Review-Les-Misrables-at-Princess-of-Wales-Theatre/

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What Is Theatre?

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.

Nicole Underhay and Rick Roberts in "The Small Room at the Top of the Stairs"  Cylla von Tiedemann

Nicole Underhay and Rick Roberts in "The Small Room at the Top of the Stairs"
photo by Cylla von Tiedemann

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.

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