Theatre, the Irish, and Beer: MacKenzieRo and bedbound

This was originally intended for elsewhere, but I’m posting it here now. I already blogged a bit about bedbound here. You can also find stellar reviews in The Globe and Mail, The Toronto Star, Eye Weekly, and NOW. And if you haven’t seen it yet, what are you waiting for?

Last week I combined three of my great loves (theatre, the Irish, and beer) into one awe-inspiring night out.  I was privileged to attend the opening night of MacKenzieRo’s bedbound and to schmooze with its stars after the show.  Not only was it a beautiful piece of theatre, but it was one of the friendliest, most generous casts I have had the pleasure of encountering.  This is without a doubt a show to see and a company to watch.  Here’s why:

In Enda Walsh’s bedbound a father and daughter share a tiny bed.   Lying in filth and squalor, both father and daughter talk incessantly, searching through their separate existences to finally find each other in a poignant moment of redemption.  He uses words to re-enact his glory days as the furniture king of Cork.  She uses them to keep the overwhelming silence in her head at bay.  Lyrical, gut-wrenching, comical, coarse, and heart-breaking, this is a play that grabs hold of its audience from the first words and never lets go until the last breath.  In this production, it is performed to perfection, with deft, warmth, and spirit, by Richard Greenblatt and Cathy Murphy and flawlessly directed by the talented Autumn Smith.  It is not for the faint of heart.  Neither is MacKenzieRo, the company currently producing the Canadian premiere at the Tarragon Studio Upstairs.

MacKenzieRo, an independent, artist-run company, was started in 2003 by Autumn Smith and Cathy Murphy with an eye toward producing theatre that spoke to their shared Irish heritage.  Having know each other since they were but “young wans,” both are second generation Irish Canadian and MacKenzieRo is actually a combination of the names of one of Autumn’s Irish grandparents and her family name in County Antrim.  Though they are fans of all kinds of classical and contemporary theatre, when it comes to their own work they’ve known since the beginning that their focus would be on the “in-yer-face contemporary Irish playwrights who challenge artists and audiences with scripts that are provocative, intimate, and psychologically demanding.”  Having both studied in London, England, their exposure to the Irish theatre was extensive and inspiring.  As Autumn, MacKenzieRo’s Artistic Director, puts it, “It was probably the original Irish production of The Weir that did us in.  We both caught the Royal Court production in the late 1990s.”  Thus, a company was born.

They started out following in the tradition of the pub-theatres of Ireland and the UK, producing at Rowers Pub in Toronto’s Annex neighbourhood.  Their interest was in exploring the historic idea of the Public House as the centre of the community, a shared space and meeting place for local voices, and in using this unique space as an intersection for theatre and community.  Autumn approached Rowers in 2004 when MacKenzieRo produced The Weir at The Fringe, “It was a cold call--I just went in and pitched the idea of a play about a pub, in a pub.  They loved the idea and gave us their upstairs room for three consecutive Fringes.” 

While they have since moved away from producing their work in pubs (Toronto lacks any true pub theatres: real pub theatres are fully equipped black box space above or connected to pubs) as their work has matured and their production values have changed, MacKenzieRo has remained true to their roots.  Now with each production they connect with a local Irish pub and encourage their audiences to come enjoy a pint with the cast post-show--for bedbound they’ve teamed up with the Pour House and I can assure you they’re the kind of people with whom you want to have a beer.

As they’ve grown up, they’ve come to see themselves as Toronto’s professional Irish Repertory Theatre.  With this comes a commitment to introducing plays not yet well-known to Canadian audiences: MacKenzieRo was the first Toronto company to produce Enda Walsh’s DISCO PIGS (to much critical acclaim) and bedbound is a Canadian premiere.  These Irish works are an important part of the Toronto theatre landscape not because they are saying things that our Canadian playwrights are not, but because they are saying them differently, in ways that we are not.  For Enda Walsh, “he crashes and bruises the air with his words.”  The Irish have a grasp on language unique to themselves but still accessible and enriching to our Canadian experience and culture.

What I most connect with in their vision of theatre and what I think bedbound accomplished particularly well is their desire to create experiential theatre.  It is not enough to MacKenzieRo that their audience show up and sit there, they want them to really experience the production.  They’re here to challenge us. With bedbound, this means creating an intimacy that doesn’t ever allow the audience to disengage: “This is closer-than-comfort stuff, befitting of Walsh’s in-yer-face style.”  This theatre insists on an audience that is present as an active witness.  Autumn shares, “When I go to the theatre, I want something to shift in me.”  However, she is quick to add that she prefers the audience not to look to the production for all the answers.  MacKenzieRo has figured out that the best theatre is the one in which artists and audiences leave still questioning, still wondering, “still figuring it all out.”

And it’s in that frame of mind that I walked away from bedbound and from my first encounter with MacKenzieRo, still thinking, still questioning but doing both with a greater appreciation for the vibrancy of Toronto’s independent theatre scene.  When I asked Autumn what her hopes were for the future of MacKenzieRo, she answered, “Well, if I win the lottery, I am building a beautiful gastro pub run by my dear friend who is a chef.  And on top will be a fully equipped black box.”  For more from MacKenzieRo, I’ll buy her the ticket.

bedbound plays from now until May 17, 2009 at Tarragon Studio Upstairs, 30 Bridgman Ave. 8PM (2:30 Sundays) Tickets: $20, Sundays PWYC Box Office: 416.531.1827 tickets.tarragontheatre.com

MacKenzieRo’s bedbound, or what I want to be when I grow up…

Last night I was privileged to attend the opening of MacKenzieRo’s production of bedbound at the Tarragon Studio Upstairs.  And as press, no less (I’ll be blogging about it elsewhere in that context, which I will eventually link to).  Which makes me giggle.  Because it feels like when you’re little and you wear your mom’s high heels and jewellery and put on her lipstick and pretend to be a grown up.  But I digress.  I will tell the story of how all that came to be another time.  On to bedbound…

Awe-inspiring.

Seriously, I could stop there.  But, of course, I won’t.  MacKenzieRo is producing the Canadian premiere, so I’m going to go out on a limb here and assume we aren’t all familiar.  This is the story, according to their website:

“For the father and daughter who are the sole inhabitants of their suffocating and filthy quarters, language is nothing short of a basic biological function.  An account of a life spent flogging three-piece suites and Swedish pine furniture becomes both feverish and blackly comic—a desperately bleak drama offering a beautifully judged glimpse of redemption.”

Father and daughter are played by Richard Greenblatt and Cathy Murphy, respectively.  They spend an hour and change never leaving the small bed they share, speaking incessantly.  Very little of their talk is dialogue, it’s much more monologue with interjections.  And what I found absolutely enthralling under these circumstances was their ability to create worlds outside of their confinement and the very real connection they found with each other and with their audience.

So they’re trapped in what is basically a double bed.  From start to finish they literally do not put a foot on the floor.  Not once.  Don’t mistake me, they’re quite active, sitting, standing, leaning over, wrestling bedsheets, etc.  But they do it all without ever leaving a this very small area.  And as they’re telling stories, about being on the beach, about being in a furniture warehouse, about making deliveries, about a dinner party, they manage somehow to make you feel as if you’re in that place.  As if they’re in that place.  The detail, the specificity of it, was incredible.  There was not a single moment, not a single description of an item or a place, where you weren’t absolutely convinced that these two individuals had been there, touched it, knew everything about it.  They used every inch of that tiny space to its fullest.  That is an accomplishment all by itself.

And then there was this incredible relationship between these two characters.  It’s a messed up relationship, to be sure, but you really understood that there was something between them.  Which makes or breaks a two person play, in my opinion (or any play, really).  I recently saw Studio 180’s production of Blackbird at CanStage and, while I enjoyed it and think it’s a great play, I was disappointed watching it.  Because I felt like I was watching two actors talking at each other and not two people relating to each other.  It was a play about a relationship and there was no relationship.  Which was unfortunate.  So it was wonderful to see the opposite of that.  And to catch the nuances in each moment.  Really, they didn’t miss a beat.  And the relationship between them changed from beginning to end, they changed from beginning to end.  They were just so committed to their choices, which were so well thought out and strong.  It sends shivers down my spine just thinking about it.  And one of my favourite things to see in theatre happened: the show ended and by curtain call they started to look like totally different people.  By the time I saw them backstage they were almost unrecognizable.  It was incredible.

What was impressive as an audience member, too, was that from the first string of expletives spewed out by Greenblatt, they just grabbed hold of you and took you along for the ride.  There was never a moment where they dropped the ball, no opportunity to disengage.  Remember this quote from my favourite RADA prof?

“You have to take the audience with you. Take by the hand and lead them to paradise.  Or lead them up the garden path and slit their fucking throats.  Just take them with you!”

These two (and their director, Autumn Smith) could not possibly have done a better job of it.  Which is all the more incredible because, while including the audience and creating these worlds outside of their actual reality, they still managed to convey a feeling of confinement. 

And the most amazing part?  They rehearsed this show for 2.5 weeks.  Which says to me, these guys know what they’re doing on a whole different level.

Seriously, they were doing so many things all at once without ever making it look like work.  It was beautiful to watch.  Absolutely awe-inspiring.  And they were funny.  And they used all my favourite words (none of which are nice).  After being in a show like the one I was just in, this was exactly what I needed. 

This is the kind of theatre I want to be a part of.  These are the kind of people I want to work with—I should add that I had the chance to talk to all of them afterward (and Autumn beforehand) and they were so kind and generous and just great.  It really restored my faith in theatre.  I’m finding that more and more with some of Toronto’s indie theatre groups.  It comforts me, it gives me hope.  When I’m a big girl, I want to be like them.  Or now.   You know, whichever.

And if you don’t go see this show, you’re crazy.  Just saying.

bedbound plays until May 17th. 8PM (2:30 Sundays) Tickets are $20, Sundays PWYC. Purchasements can be made here.

Come see this crazy show!

Artist’s rendering of the cast of Twelfth Night (AKA me and MS Paint).  Since apparently the pictures we took are not online anywhere.  Close enough.

Well, friends, the insanity comes to a close this weekend.  I’ll be sure to come back with the post-mortem on what I learned. For now I’ll just say that the producer talk went well.  And for all the chaos and madness, the show is coming together more and more and this is a talented young cast.  So if you’re looking to kick off your summer Shakespeare fun early, come check us out!

Important Details:

What:  Twelfth Night in the Parking Lot
              Bring your own chair or blanket
Where:  Green P lot at York Mills and Yonge Street
                (Southeast corner, you can’t miss it.
                And you can still park in the lot)
When:  April 24-26, 12:30 and 6:00
               Tickets $10 (April 24 @ 12:30 PWYC)
               Run time 2 hours/no intermission

Most important detail:

If you are present, come introduce yourself to me after the show! I play Maria and will be wearing purple.  If you cannot find me, I’ll be in the Miller Tavern.  And we can have a beer!

And just for the record, even if you can’t make it for whatever reason (like, say, living in Vancouver), thank you all for your support throughout this show. It’s been really helpful to me to have such an awesome online community to come to with my troubles.  I really appreciate it.

Also, if you do live in Vancouver, you should check out my friend Lois’s show, Stop Kiss.  She is playing their Stage Manager and is awesome.

The end.

Theatre Bloggers of the World, Unite!

Ken Davenport, Broadway and Off-Broadway producer and fellow theatre blogger, is hosting a theatre bloggers social. Because sometimes having conversations in the real world makes those in the inter-world more interesting. Also, theatre people are fun. Here are the bare bones details:

Thursday, April 23, 2009
6 PM - 8 PM
Planet Hollywood
Broadway @ 45th St.
New York

Mr. Davenport does request that you RSVP (which you can do by leaving a comment on his post). And for all us out of towners, there may be the chance to connect virtually. The food won't taste as good, but we can still be a part of it!

175 Years of Toronto

Tomorrow, March 6, marks the 175 birthday of the city of Toronto, my hometown. In honor of the occasion, things are happening all over the city celebrating history and culture. I haven't decided what I'm going to do yet, but I will certainly be out and about. If you happen to be in our fair city, check out all the fuss. Here is the schedule of events downtown and around town! Enjoy!

One Year. The Countdown Begins.

Tomorrow we will be one year away from the Opening Ceremonies of the Vancouver 2010 Olympics. I, for one, am very excited. I am not a huge sports fan (except for hockey), I am not an athlete, I am not even an Olympic nut (I don't much care for the summer games). But there is something really cool about the Winter Olympics coming to Canada. And I am going to celebrate it. Sadly, I only have 4:12 left on my library computer, which is not enough time to link, but there are lots of events happening across the country tomorrow in honour of the One Year mark. I'm sure if you live in Vancouver, you won't be able to avoid them. If you live in Toronto, the festivities are down at Nathan Phillips Square from noon till 2:00. Anywhere else, you will have to Google. And you should, if you can. Because the Olympics are a pretty amazing show. And because this is an opportunity to display your patriotism, your pride in being Canadian. And to let everyone else on the planet know that we look forward to hosting you, just 365 days to go.

Praxis Theatre blogs, produces, and parties. All astonishingly well and with a sense of humour.

This past Friday I was privileged to attend the sold out opening night of Praxis Theatre's production of Stranger, a show developed in three workshops over two years. I've been waiting to tell you about it until I could link to my thoughts on the production (which were committed for posting on The Theatre Centre Blog). Fortunately, Stranger runs until February 8, so there is still plenty of time for you to see it--but I wouldn't put it off any longer. Anyway, I won't go too much into my thoughts on it here since I've already written them elsewhere. I will say, though, that I enjoyed writing about it almost as much as I enjoyed watching it.

I am also linking to J. Kelly Nestruck's review at The Globe and Mail. I disagree with his judgment of the show, but I respect his opinion and I do think he makes some valid points. I would also be curious to know, from the creators at Praxis who I imagine will see this at some point, why does Praxis keep "selecting novels by authors who were equally adept as playwright?" I imagine there is a good reason (and I like the selection), I'm just interested in the conversation. Why this play now?

But what I really wanted to write about on my blog with regards to Praxis and Stranger is the reception they held after the show. It turns out I know someone who knows someone, and I was strongly urged to come to the opening so I could make new theatre friends. Well, I'm glad I listened. Because I did make new theatre friends. And laughed, a lot. It turns out they know how to throw a pretty good party, in addition to writing that blog and you know, doing shows. So here are some highlights from my night out with Praxis:

You know the awkward feeling you get at first when you're at a party where you don't know anyone? It kind of started out like that. Because after my friend left, I really didn't know anyone. And everyone was celebrating. So I was kind of the outsider (appropriate to the theme of the show, I guess). But it didn't take too long to get over, especially when I met he of the blog, Michael Wheeler ("You must be BFG." Oh goodness...). Mr. Wheeler was very kind and made some introductions, which I very much appreciated.

The people at Praxis are smart. I miss smart people. Smart about theatre people. Don't get me wrong, my friends are smart. But it's a different kind of intelligence. And it seems like much of team Praxis has studied and/or performed all over the place. It's a very cosmopolitan (though in a non-pretentious way) bunch. I too have studied in various places. It was nice to hear about their experiences outside of Toronto and then coming back...

In one conversation, I commented on how I don't really know what the difference is between the industry (I hate calling it that, but it is) in New York and the industry here in Toronto. My source (who I will not name out of respect to her privacy) told me it could be summed up in a single sentence: In New York, everyone wants to see the new face and to put you out there, in Toronto, they don't. She told me she still has difficulty getting a general audition with a theatre company in the city after many years. And that so do many other very talented people. While I think this is, frankly, disgusting, it's also a relief in some respects. It is not just me. It is, apparently, the way the theatre world works in Toronto (note to self: change the way the theatre world works in Toronto). I don't think it's a good modus operandi for a thriving theatre community, but at least when you know where you stand, it's easier to know how to proceed.

And then I met another associate of Praxis who had me laughing so hard I had pains in my sides. She was lovely. And we discussed theatre programs for kids in Toronto; she is working on starting one. We talked about how most that exist are severely limited, to be exact. I've actually interviewed with one such program and was told I don't have enough experience (me, the summer camp counsellor with the B.F.A. in theatre). The limitations are imposed by programs looking to employ teachers with an interest in theatre and not theatre artists with an interest in teaching; there is a distinct difference. It was nice to have a conversation with a like-minded individual.

I went home smiling. Aside from seeing a good show, I met some great people. I was reassured that I am, in fact, doing the right things. And I was reminded that a career in this city in what I want to do is all about diversifying. So, I advise anyone who can to go see Stranger and to hang out with Praxis, either online or, better, in real life. They're all smart cookies and they have a lot to offer. I am grateful that they shared so generously with me. And I hope to see them again soon! You all have a standing offer from me to buy you coffee/beer/lunch for the privilege of picking your brain.

Two coffees in and no hope for brilliance.

This is my favourite thing on icanhascheezburger today. Super smart, I know.

Some days I arrive at my blog directly, some days it's in a roundabout fashion. Today is the latter. I blame the plethora of interesting things on the interweb. Also, I just spent some time contemplating Praxis Theatre's production of Stranger, which will be posted soon somewhere else. I will link to it then. But the short version is that it's a really beautiful, well-done show and you absolutely should not miss it.

In other news, Mary Louise Parker's latest foray onto a Broadway stage has been met with a not-at-all-good review in the New York Times. This breaks my heart because I think she's wonderful (I would secretly really like to have her career). But the real reason I am linking to it is the tone of the review: it just sounds so disappointed. There is nothing worse than having to write about a show that you so wanted to be good and it just isn't.

Also, as we are in the midst of award show season (ick) I thought I would note that someone has actually seen all the Academy Awards best picture nominees. And it definitely isn't me. Kathryn Laskaris managed to sit through all five in one weekend with her 16 year old son. Read about it here. And I really want to see Slumdog Millionaire.

But tonight I am going to see Bride Wars with my good friend, Pilates Pocahontas (because pilates is basically what she is doing with her life and she looks like Pocahontas). I cringe a little just typing that. I enjoy Anne Hathaway, but I am not optimistic. This was not my idea. But I'm hoping it will, at the very least, be fun. Wish me luck.

I promise more meaningful posts when I regain the ability to focus. And I have another audition coming up, so that should be entertaining. Meanwhile, go see (or do) something exciting and tell me about it!

39,560 reasons to invest in the arts...

Theatre Passe Muraille, one of the birthing places for many of Toronto's independent theatre companies, announced yesterday that it finished its fiscal year with a $39,560 surplus. This followed a year when the financially strapped TPM had to call the city of Toronto in for help. Correct me if I'm wrong, but that's pretty impressive.

Even cooler than that is TPM's membership in the Creative Trust program, which will match their surplus to create a Working Capital Reserve Fund. They will continue to match surpluses for the next two years in order to grow this fund. Basically, this translates into the continued success and health of Theatre Passe Muraille and more opportunities for all of us theatre artists (and audiences) here in Toronto.

This is proof, too, that investing in the arts can pay off and that theatres are sustainable. Isn't it nice to hear good news amidst all the economic doom and gloom?

As a thank you to their Toronto audiences, TPM is offering all tickets to their current production, them & us, for $15. For more details on this, click here. To read the whole press release, click here. And, in case you needed one more, here is the story on Torontoist, too.

It's nice to know that there are people out there who believe the arts are worth supporting. And that not all of them are necessarily artists.

All the best to Theatre Passe Muraille for another great year!

Making theatre more accessible. Sort of.

J. Kelly Nestruck posted this in his Globe & Mail blog this morning. It reminded me that I did, indeed, read about it earlier this week. I just never got around to blogging about it.

The National Theatre in London is planning to broadcast several of its productions live in movie theatres throughout the UK, making the theatre more accessible to those outside of London. Tickets at the movies will be about £10 (which is about what it costs to see certain shows at the National itself). In order to recoup the costs of this broadcast, they are also proposing to sell them for broadcast abroad. The first production in this series, which will be called NT Live, is Racine's Phèdre starring Helen Mirren (!!!!!).

This project takes its cue from a few places, not the least of which is our own Stratford Festival's filming of Ceasar and Cleopatra starring Christopher Plummer. It will be shown in select Cineplex theatres throughout Canada on January 31.

While the filming of theatre is not really anything new, what is interesting to me about the National's project is that they plan to broadcast the show live--no edits--so the audience in the movie theatre will see the same show as the audience in the theatre. More or less. There are still things lost in translation from one medium to the other...but this is sort of an in between mediums idea, isn't it?

Will we see more of this in the future? I guess it depends on how these runs go...I think I will reserve judgment until I have actually seen one of these play-movies.

This just in: Praxis Theatre = Awesome.

If you're part of the theatre scene in Toronto you probably know the Praxis Theatre blog. One of the best-written blogs out there, it is a source of frequent inspiration for many of us--it is the theatre blog we all aspire to write. I'm happy to report, too, that it (and, by association, Praxis Theatre) is run by a very friendly bunch of theatre artists. And they have offered some wise words in the last week or so... While you're surfing, see what it is they do (other than write a darn good blog). Up-coming: a production based on The Stranger (also translated as The Outsider) by Albert Camus, one of the books I most enjoyed in high school. It's called Stranger. I will be checking it out, you probably should too.

This will, indeed, rock you.

Last night was my first trip to the theatre in longer than I care to think about. This hiatus from theatre-going has been due largely to a) lack of funds and b) lack of theatre (I lived in Michigan for nine months, it isn't exactly a hot spot for theatrical production). So I ventured out last night with a very cool friend of my mother--The Sludge--to see We Will Rock You at the Panasonic Theatre in Toronto.


Now, this show isn't exactly high art, which is apparent in the fact that you can bring your intermission beer to your seat with you in a plastic cup, but I like Queen's music so I was willing to give it a shot. And I went in more or less knowing what to expect: We Will Rock You was in the West End when I was in London and my friends used to second act it on a semi-regular basis. We won't even go into the ethics of second acting. I only mention it to explain that I already had a good idea of the premise. Which is far fetched. And kitschy. But, in fairness, it does lead to some funny moments.

Set 300 odd years in the future, the global corporation running the world has banned music, namely rock and roll. Think Brave New World and 1984. Probably more Brave New World. Anyway, there are rebels, of course, called Bohemians, who oppose the corporation's rule. They are only waiting for their leader to fulfill a prophecy and overthrow their oppressors. Enter Galileo Figaro (the names are totally hilarious and ridiculous all around), the one they've been waiting for. He dreams of music and frequently spouts lyrics from old songs. I'm sure you can more or less imagine where it goes from here...The funny is all in the cultural references and double entendres that arise out of the mish mash of lyrics and names that form much of the dialogue--the main Bohemian before Galileo shows up is a big guy named Hillary Duff. You get the idea...

Overall, it isn't really a great show. The choreography is stiff, the staging is perhaps the worst I've ever seen outside a high school auditorium, the video screens that form much of the set get old and are rarely used in an interesting or innovative way, and almost none of the costumes are good. This all being said, there are some golden moments. Everyone has a good voice and there is really something endearing about the performance of Erica Peck, who dropped out of Sheridan College's Musical Theatre Program to take the part. And Jack Langedijk pretty much steals the show around the end of the second act. Plus, they've rewritten much of the show to include Canadian cultural references--including a shout out to Maple Leaf Gardens.


I think it's worth seeing--it is fun. But here's the catch: I wouldn't pay regular price for a ticket. I am all for supporting our local artists and the cast is, I believe, all Canadian. But in the current economy, you'd be nuts to pay full price to go see this. Fortunately, our dear friends at Mirvish have some good promotions happening. Namely, $20 Tuesdays. Every ticket in the house is $20 on Tuesdays. Failing that, rush tickets day of are about the same. So if you need some fun and you like Queen, drop the $20 and check it out.

Keeping it real, community-style.

This morning’s encounter combined with my daily internet reading list has me thinking about community. Community being a fairly constant theme in my musings, it’s something I have a lot of ideas about—unfortunately more than I currently have time to express. But, suffice to say for now, I think we all have a longing to belong somewhere and I think that part of the key to both surviving and thriving as a starving artist is to feel that you do belong somewhere. The creative community is a powerful place…and the best way to belong is by participating, however you see fit. Here are some suggestions on how to participate from today’s web surf:

Mike Sheerin, a documentary filmmaker in Toronto, set out to make a film about what kids say to Santa Claus. What Mike Sheerin got was a film about the lives of three local Mall Santas. These three men don the red and white suit for the last month and a half of each year and engage the imagination of every wee one to sit on their knee. For them, this is a calling; it is the highlight of their year. And the end comes abruptly each December 25th, bringing a bittersweet break until next year. Chronicling this, Mall Santa, airs tomorrow night, Thursday, December 18, at 8:00 EST on Global. You can also bring joy to your own local Mall Santa by visiting between now and Christmas Eve!

Check out your local independent bookstore! I know, I have a huge love of Indigo, but I am always on the prowl for a good independent specialty bookstore—on which note, does anyone know of a good drama bookstore in Toronto? Chances are that the staff at a local bookstore are doing it because they love it and because they know their stuff, while Indigo can be great, the case may not be the same. And it turns out that the service they can offer is part of what is keeping them in the game—their connection to the community. So if you have a local bookstore, go see what they have to offer!

And finally (for now), there is a great profile on a Toronto singer/songwriter, Simone Fornow. In addition to her accomplishments thus far just being very neat, I appreciate the locality of her songwriting. It’s immediateness to a specific community, as well as her commitment to community. I won’t write more about her here, you have to go to BlogTO to check out their profile/interview. It’s definitely worth it.

Uxbridge Updated: "What is going on in Canada?"

This is the second update on a post from last week about Uxbridge Secondary School's production of The Laramie Project, which the Westboro Baptist Church of Topeka, Kansas was planning to protest. Well, a mom of one of the boys in the cast found my post and was kind enough to give us an update on the situation. And now the weekend is over, the play went up, the WBC was nowhere to be found, and we, up here in Canada, are one step closer to acceptance for everyone. Here is what she came back to say:

Well, it’s all over now. The three night run of The Laramie Project is complete and thanks to Fred Phelps and his band of crazies from Kansas, the 16 performers and their teacher have had their 15 minutes of fame. And the WBC never even showed up. I'd love to send them a thank you letter for all of the free publicity and noteriety, but why poke the bear? The kids got letters from Rick Mercer and Michael Ignatieff among others. They got a page 5 spot in the Globe, right below Ted Rogers' funeral. Most importantly, the town turned out in big numbers to see and support the play. It was a great experience for all of the kids and has hooked many of them on the performing arts. Thanks for taking an interest.

What I really love about this is that, in an attempt to preach hate, intolerance, cruelty, and injustice, all the Westboro Baptist Church succeeded in was uniting one small community against all of those things. It's exciting to hear about things like this and, in light of a world that seems every day to be crumbling around us with war, death, poverty, hunger, and hatred, progress of this sort offers a tiny glimmer of hope for humanity. At least, that's what I think.


Thank you, mom from Uxbridge, for sharing! I wish the students in Uxbridge all the best in their future theatrical endeavours and hope they will share them with me, too!

"What do you do when you're not sure?"

Doubt, John Patrick Shanley's film adaptation of his play by the same name, opens in theatres today.
The play originally opened Off Broadway on November 23, 2004 at the Manhattan Theatre Club before transferring to Broadway in March 2005 at the Walter Kerr Theatre. It closed on July 2, 2006 following 525 performances with 25 previews. It then toured and has since been performed all over the world, including at London's Tricycle Theatre, well known for its agitprop and documentary style theatre (I once sat through an epically long production there that shall remain unnamed...because I can't remember the name). And, of course, what could follow all this but a movie? It is, after all, one of the most successful new plays in recent memory. In addition to its many productions internationally, it is the winner of a Drama Desk Award for Outstanding Play, a Tony for Best Play, and the Pulitzer Prize for Drama. To say nothing of the countless awards and nominations by those who have designed, directed, and performed it (including several Golden Globe noms for this film).

Philip Seymour Hoffman and Amy Adams

Set in a Catholic school in the Bronx in the autumn of 1964, a pivotal time in American history following the assassination of JFK and the "modernization" of the Catholic Church, Doubt centers on, well, doubt. A kindly, well-liked priest, Father Flynn (Philip Seymour Hoffman), who embraces the winds of change, is suspected of molesting the school's only African-American student. Sister Aloysius (the Meryl Streep), the school's principal, passes judgment swiftly but is powerless to do anything about the priest's behaviour in a world dominated by men. And Sister James (Amy Adams), the newcomer, like us, isn't quite sure what to believe. And the ensuing drama can be summed up in the words of Flynn, "What do you do when you're not sure?"

Meryl Streep

The Meryl and Mr. Hoffman are apparently brilliant (duh.) and I will be interested to see how Amy Adams fares. I think it's an interesting casting choice and not necessarily one I would've expected next to two powerhouses of the screen and stage. I hope she holds her own; the reviews don't really have a whole lot to say about it. And since I don't generally trust just to reviews, I have included links to three: The Star, The Globe and Mail, and The New York Times. One thing they all agree on is that the show-stealer in this one is Viola Davis in her cameo as Mrs. Miller, the mother of the student who Flynn may or may not have molested. They also seem to agree that it's worth seeing.

Viola Davis

The original play was performed as a one act; the cast felt that the second act was what happened beyond the theatre, what the audience took away and discussed. Good theatre requires participation. I have a feeling that good film does as well. I'll let you know when I've seen it and, please, share your thoughts on it here. But in case you lose something in the translation, or would just prefer the stage experience, don't worry: Doubt is coming to Toronto in play form in May. The Canadian Stage Company will be putting up their production May 4-30.

Pictures ©Miramax Pictures Inc.®All Rights Reserved.

"What is going on in Canada?" Update!

So, I posted this in my blog on Wednesday about the production of The Laramie Project in Uxbridge, Ontario and the threat of protests from Westboro Baptist Church. Since then it has generated some interest--you can even find me if you google "Uxbridge Laramie Project." Which means someone is reading my blog! Other than me!! I know, not really the place for self indulgence, but it put a smile on my face and I appreciate it/all of you who might be reading this.

To the point, though...This comment was then posted by the mother of one of the cast members giving us an update:

Update from Uxbridge.

My son is in the play. They opened officially last night to about 200 people and no protesters. The unofficial opening was a performance reserved for students of the school. They actually had to turn away 250 of the 800 students who wanted to purchase tickets because the auditorium maxes out at 550. That was yesterday afternoon. Both went off without a hitch. The kids should be, and are, extremely proud of themselves. Bring on the unenlightened. We look forward to hosting their backward ideas in our progressive little town.

And that puts an even bigger smile on my face. See how exciting "controversial" theatre can be? This is why I love theatre: the discussion it creates, the energy, the community. I am so impressed by and so proud of the community of Uxbridge. This mom really says it all, and I will continue to wish them the best and to think of them, though I have prior commitments preventing me from attending.

Hopefully we will continue to get updates, with or without the presence of protesters. Because the protesters are secondary, the real story is Uxbridge.

Finally, Toronto Plays Itself

Toronto Stories, a film by Aaron Woodley, Sook Yin Lee, Sudz Sutherland, and David Weaver, has finally cast our fair city as itself. There are many films that have shot here in the GTA but rarely, if ever, are they actually set here--Toronto has an impressive resume when it comes to being cast as foreign locales. As a result, very rarely do we see the city we know and love on the big screen. And Toronto Stories is changing that: the film, which is actually a story told through four shorts, is set in some of our most familiar 'hoods. It follows a young boy, new to the city and just arrived at Pearson, through Cabbagetown, into Kensington, onto our streets, and down into our tunnels before finally culminating at Union Station.

The film premiered at TIFF this year, features four of our countries future filmmakers who are just on the cusp, and is a grand debut for our city as we know it. It plays for a week, beginning tomorrow, at the Royal Cinema, 608 College St. West. For more, check out this excellent post on BlogTO. Go see it!

On my own personal note, I think it's great that these directors decided to show Toronto off for itself. Or at least, that they had that aim...I can't speak better to it as I have yet to see the film. But if you adhere to the philosophy that everyone has a story, which I do, Toronto is full of them. What is your Toronto story? And how would you tell it?

"What is going on in Canada?"

This weekend, 16 students at Uxbridge Secondary School will take the stage in their production of The Laramie Project. For any unfamiliar, though I am not sure how you could be if you're reading this, The Laramie Project is a play derived from interviews conducted with real people in Laramie, Wyoming in the aftermath of the kidnapping, beating, and eventual death of Matthew Shepard, a 21 year old student and gay man. It reveals the wounds caused in one community by homophobia and hatred. This is heavy stuff for teenagers, but maybe a high school, especially one in a town of less than 20,000, is the perfect place to stage this play. Maybe if someone in Laramie had done something similar, the whole affair could have been avoided. At any rate, these student and their teacher, Amy Blizzard, should be commended for having the courage to tackle The Laramie Project.

Now enter the Westboro Baptist Church of Topeka, Kansas. These "Christian" followers of Pastor Fred Phelps, the man who protested Matthew Shepard's funeral, which is depicted in The Laramie Project, have plans to head north to protest this production and to teach these teenagers the "truth." There have been rumors that the group would protest in Canada in the past and they have always been a no-show, but this time, Phelps's daughter confirms that a group of six is prepared to drive up here with their hate-mongering signs. I will not reprint their slogans here. She also implies that they shouldn't have to drive all that way, that we in Canada should be doing this ourselves to educate these children. "What is going on in Canada?" she asks.

I'll tell you. In Canada, for all our differences and our grievances with one another, we believe that all people, regardless of race, religion, sexual orientation, etc., have a right to live their lives. Everyone is entitled to their opinion and we are capable of peacefully co-existing without always agreeing. What is going on in Canada is that we do not believe in hate. We do not preach hate, we do not condone hate, and we certainly will not tolerate hate. But you are entitled to your opinion. So come on up, Phelpsies, give us your best. And we will give you ours. When Phelps protested Matthew Shepard's funeral, one of Matt's friends organized a counter protest. These counter protesters wore giant white angel wings and stood silently with their backs to Phelps and his group. Silently blocking out hate. I feel this is an excellent response, and the only thing they deserve. We will not engage your hatred, we are above that.

I would encourage everyone with a means of transportation to go support these students. It's a great thing that they're doing, regardless of Phelps. But take your angel wings, just in case he shows up....

The Laramie Project at Uxbridge Secondary School
127 Planks Lane, Uxbridge
December 11, 12, and 13 8:00
$10 at the door

Poetry On Stage.

Sylvia Plath

Anne Sexton

There is a really beautifully written review of Sylvia Plath Must Not Die in Nestruck on Theatre today. Nothing I can say, especially as I haven't seen the play, could possibly be more interesting. And aside from being a beautifully written review, the play, which is about Anne Sexton and Sylvia Plath and their respective obsession with despair, sounds highly appealing, if a little depressing. But perhaps the perfect show for the tortured artist? Check out the review, see the show, I shall say no more on the subject.

My Favourite Holiday Tradition.

The Nutcracker has to be my absolute favourite holiday tradition. My mom used to take us every year when we lived in Toronto, back when the O'Keefe Centre was home to the National Ballet (and back when it was still called the O'Keefe Centre). It was never anything less than thrilling. Well, I have every intention of reviving the tradition this year and it looks as if the National Ballet is not the only Nutcracker in town. According to today's Star, from which I took the above picture because I couldn't find another one I liked anywhere else, there are no less than five productions of The Nutcracker going up this December. Unfortunately, all except the National Ballet's production have limited runs. All the info is here, but I'll give a brief run-down.

The Canadian Nutcracker: Pictured above, it's a Nutcracker inspired by a Group of Seven painting and set in Algonquin Park. This one sounds like the most interesting re-imagination. Ballet Jorgen's production is playing tomorrow and Saturday in Mississauga and then throughout Ontario.

The Classical Nutcracker: The closest you can get to the Russian original is playing from December 18-21 at the Winter Garden Theatre. It's put on by Canadian Ballet Theatre.

The Modern Nutcracker: Choreographed by Xing Ban Fu, performed by Xing Dance Theatre, it incorporates aspects of modern dance, too.

The Community Nutcracker: The Pia Bouman School's production is generally community based and usually features a local politician. It is also re-choreographed annually.

The National Nutcracker: By far the most spectacular, and with the most opportunities to see it, the National Ballet's production runs through December 28. It also has rush tickets, available the day of, for $30. It is otherwise the most expensive Nutcracker. And completely worth it.

I would absolutely love to see the Ballet Jorgen production, but I don't think I'm going to make it, sadly. I will definitely turn out for NBC's production, if not another in addition. Also, if you're a fan of the dance or are just looking for something to do, the National Ballet of Canada offers a discounted ticket program called DanceBreak if you're between the ages of 16-29. Check it out and sign up here.