Review - So You Think You Can Be A Music Theatre Idol, Venue #9

Those who know me know that i am very much anti-reality TV for the most part...indulging only for the sheer athleticism displayed on So You Think You Can Dance. So the opportunity to see a campy send up of all that i dislike was very appealing. White Rabbit Productions did a great job of putting together this parody, which balanced silly mockery with some great performances. Overall the tone of the piece was great, and I loved the audience participation. There was a sense however that some actors understood the campy style required a bit better than others; standouts for me were Vespa, Roi, Penelope, Claw, and Ripp Tripper. Some others I felt were in and out.....not always carrying the self-awareness needed for a performer to carry off this sort of a piece with seriousness to truly bring the audience in to the crazy world with them. I enjoyed the multimedia aspects and some clever staging, though I did feel the audio clips could have been mastered better to understand the actors more clearly, and some lighting cues were a bit off. Overall though this was really fun and I'd recommend it if you are looking for a good, silly, night of fun.

Review - Hedwig and the Angry Inch, Venue #13

What fun. Hedwig (played with beautiful specificity by Seth Drabinsky) and her fabulous backup band, The Angry Inch, take us through a rock and roll rollercoaster, re-telling the her rise to stardom. Well, close to stardom. The show beautifully moves from raucous fun rock numbers, to angry punk songs, to sorrowful ballads, each telling us a little bit more about Hedwig's transformation from little German boy in East Berlin, to captivating Queen rocking stages in North America. Never once did I question what was happening or the over-the-top relationships of the characters. Kudos must also be given to the silver-voiced actress who plays Itzak, Hedwig's husband. I can only dream of singing like her.

Review - The Apiarist, Venue #5

Mylee Nordin is delightful in this touching story of a young girl's encounter with the death of her neighbout, an old bachelor who keeps bees. The story moves gently from the feel of a lecture, to recount of the experiences, to lovely re-enacted memories of her youth. One standout scene included the re-telling of going to school at 14 with an eye swollen shut from a bee sting, brought to perfect comic life by Nordin. The character's growth through the play as she learns from the bees she finds herself caring for is quite enjoyable to watch.

Co-creator and director Heidi Malazdrewicz does a great job staging to bring the simple set to life. The production's use of photo and video projection added beautifully to the story as well. I did find that some shifts could have been more clear, perhaps through a more distinct shift in the light or physicality.

This was a highly enjoyable show, and a very informative one; I now feel quite informed about bees!

Review - Master Orloff and Madame Clodile's Freakshow Beautifique, Venue #15

I was excited heading into this show, as I have come to expect a high level of creativity and a certain aesthetic value from Theatre Incarnate's work. This production did not disappoint. Beginning with some excellent live music provided by the talented Claire Friesen, the show then spun out into a wordless exploration of the Master's obsession with the "freak" Clodille. The initial scenes felt a little slower as the relationship was built up, however soon the audience falls under the spell of master in the same way Clodille has. The imagery created by The two principals (Brenda McLean and Christopher Sobczak) was at once beautiful and horrific.
The production also featured young "Lizard Girl" in interludes, and she was a gem to watch.

Overall a strong production; I recommend it to those hoping to see something truly unique and outside the mainstream.

Review - To My Amazement, venue #9

This show was not on my initial list, however i make a rule for myself to see at least one show from a non-manitoban company, and at least one i know nothing about. this show met both criteia, with a company travelling from LA and Costa Rica. it began well, with a calm yogi, and moved into some interesting chorus work, including masks and some creative movement. This for me was intriguing; unfortunately i felt the show lost momentum from there. It moved into a series of scenes playing out the real-life scenarios in which each piece of yoga practice can be applied to help make one happier. The majority of these scenes felt contrived, and rarely did these actors feel connected to the material.

In addition, there were interludes from a young actor, the premise being that as a child we understand better how to interact with the world, and slowly most of us un-learn this. These grew unfortunately repetetive s the play continued to loop through these three types of scenes. The idea of the show was strong, but got muddied through the devices of the corus, scene, yogi and child all repeating over one another.

For me, the strongest point in the show was when the young character had one of her "to my amazement" speeches, and then herself moved into and out of a scene on the subject. This show could hve benefitted from more of these for a clarity of message.

Finally for a show preaching being "present" in life, the actors unfortunately rushed through most lines and scenes. At times they were difficult to understand, and rarely connected to the mterial in the scenes, seemingly reciting for a vocal tone of effect rather than to experience the text in the present.

Winnipeg Fringe Picks!

Here are my quick-picks for the Winnipeg Fringe this year. I'll be posting reviews of things I see, so check back :)

African Folktales with Erik de Waal - Kids Venue
- This is a kids show, but by no means is it kids-only. Erik deWaal is from South Africa, and travels to the fest each year. He is one of the most amazing physical storytellers i have EVER seen in my life. Sarah loves him so much she has his cd and listens to it at home regularly.

The Apiarist - Venue #5, Son of Warehouse
- I am invested in this one personally, as it is written, directed and performed by two dear friends of mine who are immensely talented. AND it is about beekeeping.

The Brain From Planet X - Venue #16, PTE Mainstage
- I helped out with this zany show as the choreographer for the tap dances, and a couple other numbers. It is HILARIOUS and i don't put that label mildly. Imagine a 50s leave it to beaver perfect american family who meet up with two aliens and their leader, a giant brain, who want to take over america. Very "fringe"

Etoile - Kids Venue
- this is my pick for best kids show this year. If you have little ones, you should go!! It follows the life of a little girl who seeks fame, and learns its price.

Hedwig and the Angry Itch - Venue #13, Pyramid
- I have been trying to see this crazy rock show for a few years now and have failed. I vow to see it.

It's YES: A one-man mockery of all things human - Venue #4, Manitoba Museum
- Spoken word, criticism of humanity....what more does one need? If you were around MEME festival and saw the dude with the fish puppet...this is him!!

Master Orloff & Madame Clodille's Penny Arcade Freakshow Beautifique or The Illusionary Box - Venue #15, Studio Incarnate
- I was part of Theatre Incarnate's last project, and have always been a fan of their work. You will see something unique, challenging, and intellectual...and probably just outside your comfort zone. And you'll LOVE it.

On Funding, Cuts, and making a living....

OK. This is coming a bit belatedly, however I really wanted to clarify my thoughts before jumping into the debate about the arts funding decision made related to the SummerWorks Festival in Toronto.

Initially, I am outraged; the idea that Heritage Canada would coincidentally stop funding the festival, one it has generously supported for five years running, the year following a production which reportedly outraged Prime Minister Harper as a play "glorifying" terrorism is a bit of a pill to swallow. Given the need for control that Mr Harper has demonstrated in so many other areas of his leadership, I find it impossible to believe that he played no role in the decision not to fund the festival.

Secondly, I am fuming at the suggestion from Finance Minister Jim Flaherty that artists should not "rely on" funding from government. Sure! At the very core I agree; I wish nothing more than the ability for artists to create new and challenging works, and pay for them with ticket prices. To avoid reliance on donation, sponsorship, and grants would be a whole new realm of artistic freedom. The reality of the matter is that this is next to impossible. Even with funding, it is tough for theatre companies to make ends meet when you add up the costs of space (if you are lucky enough to own your own...or goodness knows, renting!), paying the performers for rehearsal and show times, designers, directors, set and costume construction, stagehands...the list goes on. If a company were to try to actually turn a profit solely from ticket sales, prices would skyrocket! And this is just considering non-equity performers and non-union houses. Once you factor in using an IATSE house or a cast of CAEA performers the cost of production further increases.

But this isn't anything new, nothing we didn't know before. . .

Alas, here is the challenge I pose to the government; pay fair price to the performers who you trot out on display as soon as there are foreign dignitaries, a party of some kind (Canada Day anyone?) or a reason to celebrate. Think of the extravaganza recently put together in Ottawa for Wills & Kate's visit to Canada; normally Canada Day on the Hill is quite a Fete, but this year really outshone previous efforts. Ask yourself....did the Government of Canada really pay a fair contracted price to each and every performer who stepped on that stage? I mean sure, each had an honourarium, and the "priviledge" of performing for Royalty. Great! But what was their contract? Did they get a fair, equity approved wage for the rehearsal time and performance call time? I am making an educated assumption that they did not; my sister travelled as a teen to perform in Ottawa for Canada Day. My parents paid for her travel and accomodations, and the choir she was with got an honourarium that worked out to mere dollars per performer. I doubt much has changed.

So Dear Mr Flaherty and Mr Harper; if you want to start telling artists that they shouldn't depend on grants, put your money where your mouth is and pay them fair wage for the work they do for you.

Show Tomorrow!

Short notice, but for anyone in Winnipeg, I am performing with the Winnipeg Talking Radio Orchestra at Aqua Books. This is a really fun project run by the fabulous Kelly Hughes, which hosts a double-feature of old radio plays each Saturday!
 
The Winnipeg Talking Radio Orchestra presents live radio plays from the medium's Golden Age, performed by a great cast and a live foley artist. This week, The Snowball Effect and The Thin Man.

Featuring:
Chickie Hughes
Kendra Jones
Tim Higgins
Liz Higgins
Kelly Hughes

Show starts at 2pm, Tickets are $5 at the door. Hope you can make it!

My Friend Grant

The never-ending cycle of artist grant-writing continues. What an unnerving task; baring your artistic soul for a panel of strangers, hoping that the samples of your work that you have selected will adequately convey your skill, talent, and passion. Not to mention your worthiness of the grant, need, desperation even? It is like an audition where you don't even get the chance to try to talk your way out of an awkward choice or presentation.

In other news, in my many pieces of planning for departure, I have been aiming to downsize my considerable closet. I am selling many pieces of clothing that are much-adored, but oft forgotten. Not surprisingly, I am very attached to each piece, recalling when and where it was purchased, important occasions on which I wore it, who it reminds me of. It is a sad procedure, but at the same time quite uplifting. It was satisfying  to look into my closet unit and see far less clutter, only keeping those things I actually need and use. I would strongly recommend this to all for a "lightened" perspective. I will be posting a link to photos of the pieces later this week....consider a purchase a donation to my "london" fund!

Explanations

I was on the bus with my 7 year old yesterday, trying to keep her amused after a long day at the zoo. She really loves art, so I hauled out my iPad, opened up the app for the British National Gallery to look at some paintings with her. We were scrolling through images of paintings from the 19th century when she came across Monet's "water lily pond" and exclaimed "Mom, that is the one I have in my room!". We proceeded to discuss what the real painting looks like, how large it is, the brushstrokes, etc. She then asked how many of this painting existed, and I tried to explain that part of what makes a work of art is that there is only one.

This got me thinking about creation and art and things. I think that to me, the most appealing part about art, and specifically theatre, is just that; the immediacy of a piece. Thinking back to that Monet...it has long been one of my favourite paintings, since childhood I have had prints, postcards, stationery, and am very familiar with the work. Yet the first time i saw the actual painting I was awestruck. The size, proportion, colours, were unreal. And it seemed to have the effect of a calm wave moving over me as I stood before it.

I can't recall who said what i am about to paraphrase, but it will always stay with me as a nugget of gold from all that university reading; what makes a work of art timeless is that you can encounter it over and over again, and take something new from it each time. It will resonate within you going forward, and impact the way you see the world.

I endeavor to create something which will have this kind of impact.

Dionysus

Once in awhile, an artist gets to be part of a project that is truly unique, one that pushes boundaries and extends the understanding of their work. I had the fabulous opportunity to be part of such a work with Theatre Incarnate this winter. The piece, which I have referred to in earlier blogs is called Dionysus Is Getting Impatient, a co-creation led by Brenda McLean, with myself and Claire Therese. Our starting point for this creation was the work and influence of August Strindberg, tracing the lineage from his play Miss Julie, to Ibsen's Hedda Gabler, Genet's The Maids, and Sartre's No Exit. Using physical theatre techniques, and the text of each play, we created a piece examining the situation on women in drama historically, and celebrating our modern situation which allows women to create this kind of work.

It all sounds a bit academic when put that way, but this process was a truly visceral experience. In our meetings to develop the piece, there was debate on the philosophical and social implications of each woman, which we then translated into physical movement. Constant experimentation played a large role in this, regularly moving lines or movement from one character to the other. After several weeks of this creation process, it became inherent to the three of us that the "art" here wasn't only in the production of the final product for an audience, but also in our daily experimentation and discussion of the piece. Going to rehearsal each day was a joy, something we looked forward to heartily.

The production itself was a success; many audience members spoke to us afterward about how the piece moved them, and how it continued to resonate with them days or even weeks after the performance. It had the same impact on us as performers - after our last performance, I found myself continuing to consider the ideas evoked in the piece both from an intellectual standpoint, and a performance standpoint. Not all who encountered the work felt this way, some audience members and reviewers were left confused by the script....and that is ok too. What is important though, is the things they noted about the show; often what was confusing to them was intended to be so, in staying true to the expressionistic style of Strindberg, and the feminist non-linear approach.

I would be doing a terrible job of promoting my work if I didn't link to some reviews of the production.So here they are...the good......and the..er...not so good.
Kenton Smith, Uniter
Allison Mayes, Winnipeg Free Press
Joff Schmidt, CBC Theatre Blog
Jen Zoratti, Uptown

We took a break of nearly two months after the production completed, each of us going to separate projects. Then in March, wanted to return to the piece to create archival photos and video to send out to festivals and theatres to potentially pick up the piece as part of their season. What was truly amazing was upon our first return to the piece, we remembered a majority of the physical and text work, as if we had never stopped rehearsing. It sat in our bodies, dormant, waiting to return. This "second coming" of the show ended with another performance for an invited audience of family and friends who had missed the original dates. This performance felt every bit as new and exciting as it had months before.

Also, some production stills by Leif Norman

What have I done?

Just home from the live-via-satellite showing of The British National Theatre's Frankenstein and I must say, it was magnificent. I had read about the production earlier this winter, and was intrigued by the idea. Director Danny Boyle, in an effort to explore the duality of the characters Dr Frankenstein and The Creature, had cast two actors to play both parts. The pair alternate roles, while the remainder of the cast remains static. This in itself fascinated me, not to mention the new play being written, with an increased focus on the original book, and returning the Creature his voice.

Well, I am grateful for technology! This production exceeded even my imaginings of what it might be like. First, the use of lights, sound and set to create the locations was unrivaled. With sound design by none other than Underworld the space was transformed from a dark laboratory, to a bright field, to a dirty European town, to Lake Geneva, and finally The Arctic. Lights rippled through the space like lightning bolts, shining clearly through to the actors like rays of sun. Particularly notable was the effect of the burning house, which employed a scrim house, red lights, and lots of stage smoke. The use of the multi-leveled set over the large expanse of mostly bare stage was truly an achievement in design and direction merging. At times the actors were right out in the audience, while at times so far removed the sense of loneliness was palpable.It was exciting to see the extent of the "magic" of theatre pushed past its boundaries to new heights.

The performances, most notably of the two leads, were brilliant. This broadcast featured Jonny Lee Miller as Creature, and Benedict Cumberbatch as Victor Frankenstein. The opening scenes of the Creature's "Birth" were a truly riveting piece of physical work. We watched as Miller was thrust out of the man-sized womb, muscles twitching with a yearning to move. Beautifully choreographed movement ensued as he learned to push himself up, then to crawl, then to stand and walk. The pure agility of this sequence was amazing. At the same time, he learned to speak, first through expressionistic sounds and gestures, and as the play continued, through formal language. This physical and intellectual progression was seamless from start to finish; at no point did we question his ability to adapt and assimilate into "Normal" human functioning.

Cumberbatch's character played a secondary role at the start, however truly came to force as the drama came to a tipping point. The assured intellectual clarity of his movements and actions devolved slowly and methodically into the ravings of a madman. By the end, once roles had reversed, the mirroring of movement between the two actors solidified the idea that they were two parts of a single being.

The performances of supporting cast should be noted as well; Naomie Harris was simply beautiful as the pure and moral Elizabeth; Ella Smith was both raucous as the prostitute Gretel, and pious as the maid Clarice. The only note that rang false in this production was George Harris as Frankenstein's Father, the Magistrate. Enjoyable in many other roles, Harris lacked sensitivity and passion as the Magistrate, as a result some lines came of as insincere.

Overall a brilliant and inspiring production, marrying technological feats with physical theatre and brilliant performances. Bravo!

I suppose a good place to start is why I am here writing this. Well...I am about to embark on my Masters Degree at the Royal Academy of Dramatic Art in London, England. Just saying that sentence is daunting enough. I have been out of University for six years now, and haven't functioned as an academic for most of that time. I've been working in both the business world, and the theatre world, which as you might imagine, causes a lot of confusion in my poor little brain. So I've endeavored to create this blog with 3 main goals:

1) Actually articulate what the heck I think makes good theatre. I think this is an integral step to actually feeling prepared for my dissertation a year from now. 

2) Refresh my mind on all the amazing thinkers who have gone before me, and what I've thought of them. Maybe my thoughts have changed. 

3) Talk about the projects that I am working on, and the process. 

That last point sticks quite firmly to my mind. I recently read an article in The Guardian that talked about emerging theatre artists of today, and the lack of discussion of their work. This really made me think...I have been working and creating for many years now, but haven't ever actually sat down to record what we did, or why...the process and the result. And then I got to thinking....MAN if people like Brecht and Grotowski were as lazy as I've been, I wouldn't have had anything to study in university! 

So here we are. Hopefully this won't be too painful or academic. Or maybe you'll like that it is so. We'll see!

Up next....an exploration of the creation process for Dionysus Is Getting Impatient,  a project I recently worked on with Theatre Incarnate..

This is it....

Apparently I am a blogger. Watch here for something earth-shattering and insightful. Or at least moderately interesting.