Zadie’s Shoes, written by Adam Pettle, @ Factory Theatre until June 5

Although recently ending its Factory Theatre run, Zadie’s Shoes is a wonderfully written, often moving play with cleverly structured conflicts, easily recognizable and perfectly contrasting characters and relevant contemporary themes. Wow! That’s a mouthful AND an awful lot to cram into one play….well.

But prolific and award-winning playwright Adam Pettle does so with this modestly rewritten and tightened revival of his 2001 hit. But, of course, it takes more than a superb play to create a winner. Thus, the supporting and talented team of actors (Joe Cobden, Patricia Fagan, William Macdonald, Harry Nelken, Shannon Perreault, Geoffrey Pounsett and Lisa Ryder), co directors (Adam and his brother, Jordan Pettle), designers (Jackie Chow-set/costumes, Andrea Lundy-lighting, Christopher Stanton-sound) and stage manager (Tanya Greve), all play a major part in creating this excellent ensemble production.

Zadie’s Shoes tells the story of Benjamin (Cobden), a compulsive gambler, who plays the horses with, and loses, his girlfriend’s (Patricia Fagan) money, which she had saved for her “alternative” cancer cure and which he is under extreme pressure to win back before they leave town in a couple of days time for her treatment. Stressed to the max, Benjamin, a thoroughly non observant Jew, heads for a synagogue, hoping for God’s intervention/assistance and there meets up with an old, but wise codger (Harry Nelken) who generously dispenses practical advice, often sprinkled with humour, coming in the form of sage sayings and aphorisms. And this elderly gentleman keeps popping up throughout the script, advising, counselling and at times, badgering Benjamin.

For those of you familiar with the play Tuesdays With Morrie, this play, Zadie’s Shoes has some similarities. Both plays involve a North American secular Jewish sensibility and both contain conflict, wit, charm, humour, pathos and enough schmaltz (chicken fat) to make a large serving of very rich chopped liver. But Pettle’s play has younger characters and tackles more ‘with it’ and contemporary themes. In fact, I have seldom seen as many young people (16-40) in attendance at a local theatre for a non-musical, as I did here at the Factory Theatre for that Sunday matinee.     The high stakes and very humorous, yet poignant plot, is very shrewdly but seamlessly mixed with the universal themes of compulsive behaviour, family, love, faith and loss of relationships.

In the final analysis, Pettle tells a good story and understands that conflict must occur at strategic intervals in order to hook your audience. I, for one, was totally engaged, because Zadie’s shoes is clever ‘popular entertainment’ and definitely worth the trip to Factory.

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by Christine Stoesser

The warm weather teasers Toronto has been experiencing have also served as a reminder of just how many people populate our city. Toronto sometimes feels a little like Dr. Jekyll and Mr. Hyde, the latter being the winter, of course. It’s not that winter is all bad, but its chill can impose on socializing so much that even the most gregarious folks in Toronto find themselves tucked inside with a book or a movie—a lot. It’s easy to love Toronto in the spring: magnolias blossom, hearts open and friends reconnect. To bring your social life back into existence, and to experience Toronto from another point of view, there is nothing nicer than visiting a rooftop patio with friends on a breezy, balmy evening. Here’s a list of five rooftop patios in different corners of the city that offer great service, drinks and gorgeous views.

Hemingway’s:

Known for their extensive wine list and delicious sweet potato fries, Hemingway’s is a mature yet down-to-earth watering hole that celebrates the cultures of Australia and New Zealand. Located in the upscale Yorkville shopping district, Hemingway’s is actually quite affordable, which might explain why it’s so busy, filled with people who have just finished working or shopping. If you love to meet new people and network, Hemingway’s might be your gem. Even though it’s busy, they still manage to provide great and attentive service. Hemingway’s is a fun and relaxed atmosphere where laughter abounds.

Thompson Hotel:

The Thompson Hotel is an international hotel franchise which just opened its Toronto location to oohs and aahs last year. You’ll pay a pretty penny for your drink, but the rooftop patio has one of the best views (at 360°) of Toronto’s skyline. This is the place to go if you’re feeling unenthusiastic about Toronto: the elegant glass decor which showcases and reflects the vast view will have you ogling the CN Tower through new, prideful eyes. This rooftop patio has certainly raised the bar in Toronto; can you think of another one with a pool, and not just any pool—it’s an infinity pool, that’s a pool that creates the illusion of going on forever.

Vivoli:

They may have had to do a lot of flat roof repairs, but it all resulted in a rooftop patio with the greatest view of bustling Little Italy. Located on College St., and otherwise known as paradise for food lovers, Vivoli is an Italian restaurant that knows exactly how to make an authentic pizza. Their wine and beer list aren’t too shabby, either, and when combined with a patio that towers over everything else, Vivoli is always full of patrons enjoying their fare while people-watching, enjoying a bird’s-eye view of cultural street festivals, or simply enjoying the weather from on high.

The Spoke Club:

The Spoke Club, located on King St. W., is a members only club which caters towards media and arts professionals. You’ll have to find a friend with a membership, join yourself or attend an event on the premises to experience it, but it’s well worth it because this is one of the most beautiful and private patios in the city. The rooftop garden house made of steel and glass puts a futuristic yet elegant spin on rooftop patios and the interesting layout and design of the place will indulge your senses and inspire the imagination. The garden is beautiful and well-kept, the bar is easily accessible and the cocktails divine. If you’re a culture junkie looking for a lively conversation, this may be the place for you, if you’re willing to do what it takes to get there.

Murphy’s Law Irish Pub:

Located near the beaches on Queen St. E., Murphy’s Law is the patio to beat in the east end. It’s a low-key and casual establishment, offering plenty of beers (Irish and otherwise) on tap as well as a decent wine and cocktail list. This is the perfect place to catch up with friends you haven’t seen for awhile and to enjoy some fish n’ chips and a pint. Like all the fine establishments on this list, the selling feature of Murphy’s Law is its large patio. The beaches are removed from the behemoth structures which make up Toronto’s downtown, and Murphy’s Law is truly one of the tallest buildings in the area. The view is lovely, showcasing Lake Ontario and Toronto from a vantage point less urban than the other patios mentioned.

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by Ron Singer

“National Theatre Live” is the name of a phenomenal and groundbreaking theatrical initiative that has been taking place in Toronto since January 2009, but you’d be hard pressed to find overwhelming numbers of Torontonians who know about it. What exactly is it? It’s the best of British Theatre, performances of outstanding plays of all types and genres that are performed in repertory at the three theatres of the Royal National Theatre in London and broadcast live via satellite directly to a select number of cinemas and performing arts venues around the world, including the Cineplex chain here in Toronto.

Think about it, some of the best plays from across the globe, featuring many of the world’s best actors and directors and produced by one of the world’s most reputable and successful repertory companies.. seen live, here in TO–without the tedious hassle of having to go to London, AND at a very reasonable cost per ticket.
Thus, I find it difficult to understand why there are not far more people ”breaking down the Cineplex doors”, so to speak, in order to attend this spectacular series.
If you haven’t been a fan, then take note, below are only some of the exciting productions that you have missed.

• Phedre by Jean Racine starring a  nothing less than brilliant Helen Mirren playing the title role of Phedre in this savage play,
• The Habit of Art, an extremely witty and articulate play by brilliant British playwright Alan Bennett,
• A Disappearing Number by world famous theatre company, Theatre Complicite, a provocative, but superbly performed Hamlet,
• the recent Broadway musical hit, Fela and most finally,
• Frankenstein directed by famous film director Danny Boyle of Academy Award winning Slumdog Millionaire fame.
• And upcoming, Checkov’s Cherry Orchard, Emperor and Galilean and A Woman Killed with Kindness.
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And as if that’s not enough to satisfy even the most dedicated theatre officianado, the Cineplex organization is now hooking up  with Broadway producers and beginning to bring in hits directly from productions currently running on the Great White Way. One of these is the award-winning  show starring Brian Bedford in The Importance of Being Earnest  and the second of these Broadway offerings is the present long-running musical, Memphis.
Do not think that you’re  diminishing the importance of local theatre by supporting these foreign productions, you are, however, expanding your theatrical knowledge and experience, which can only serve to improve the quality of the theatre-going audiences in this City.

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reviewed by Ron Singer

This is not a well known fact, but the playwright, William Saroyan, who wrote ‘The Time of Your Life’, is recognized as one of America’s great playwrights of the 20th century, alongside the likes of   Arthur Miller, Thornton Wilder and Eugene O’Neill.
This play is Saroyan’s Pulitzer Prize winner and very much like Eugene O’Neill’s play,’ The Iceman Cometh’, it is set in a seedy bar and filled with characters longing for a better life.
The major difference between O’Neill’s play in a bar and Saroyan’s, is the highly unusual qualities of Saroyan’s central character, Joe, (performed brilliantly by Joseph Ziegler), the champagne-guzzling, always calm, always quiet, always thinking, always bored, always eager, always superior, millionaire philanthropist (Saroyan’s description), who is very much at the centre of this play, as he generously hands out gifts and cash to many who enter the bar. In essence, and primarily via this character, Saroyan is saying, “Live to the fullest in the ‘Time of Your Life’”.
Written by a perpetually optimistic Saroyan in 1939, as a dream-filled and loving ode to a corrupt, as well as economically and psychologically battered America, just prior to the start of World War Two, this play is in many ways, perfectly suited to our 21st century. Since it deals with people yearning to rid the world of evil and hoping for a better life, it is incredibly timely in this day and age where we also have our fair share of corrupt politicians, almost universal economic woes, unpredictable terrorist atrocities and a plethora of wars and revolutions.
The acting is strong and there are far too many in this extraordinarily large cast to single out all those who deserve special  praise, but I can’t help but zero in on Stuart Hughes for his brilliant portrayal as Kit Carson. Whenever he’s on stage, the scenes vibrate with energy and interest.  Additionally, the direction by artistic director, Albert Schultz is solid and the set, costumes and lighting are highly appropriate.
But, as strong as this production is, as relevant as the topic might be, as intriguing as Joe is as an eccentric character and as well written as this play may be, it is not going to be to everyone’s taste.
In simplest terms, this is a very verbal play, with almost abstract-like writing at times and it’s chock-a-block full of “life can be beautiful” aphorisms and philosophising, such as, “This is such a good world. Why then do I feel so lonely”? Or “I’ve got a Christian conscience in a world with no conscience.” AND the production also moves at an extremely “unhurried” pace.

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reviewed by Ron Singer

I’ve barely got any hair left on my head and what’s still there is primarily grey. My wife of 45 years has a gorgeous head of pure white hair. And when we go to the theatre here in Toronto, we fit right in, since we’re pretty much in the age range of the average legitimate theatre-goer in this City. All by way of saying, the theatre-going population for the more traditional theatre companies in this City, (and Country) consists primarily of grey and white-haired folk…in other words, seniors. Not that there’s anything wrong with seniors, per say, BUT if we seniors constitute the majority of the present day theatre audience, and a younger audience isn’t being introduced to this art, then who will eventually take over from us once we stop going?

And the answer to that question is; Shakespeare in Action, one of several professional theatre companies in TO, that brings exciting theatre workshops and productions into our schools and directly to our youth, our audience of the future. And one of this company’s recent productions was the Diary of Anne Frank, which I saw at a local high school, along with over 250 students.

What a perfect choice of play for these teens, the now famous, true story of Anne Frank (played intelligently and note perfect by Sasha Cole), a Dutch Jewish teenage girl, who came of age during the turmoil of World War 2, while hiding from the Nazis in an attic with her family and several family friends. Almost all of the experiences in this confined living space involving this bright, spunky, highly articulate and outspoken teenager, were familiar topics and of great interest to this particular audience.

The material that teens would find easy to identify with include scenes of tense family squabbles, Anne’s keen, witty or sarcastic observations of the adults, comments that deal with Anne’s  physical and psychological growth and development, as well a most genuine, touching and brilliantly-staged and acted sexual awakening scene between Anne and the attractive teenage boy in the attic. In fact, virtually all of this play with its message of hope and positive thinking and its image of a very strong, intelligent and caring heroine, was directly in tune with this audience.

When you add the fact that almost every artistic and technical aspect of the production was beautifully handled by this professional company, which includes excellent direction by Michael Kelly, superb acting by a truly talented ensemble of 10 (Bruce Beaton, Cindy Block, Joe Bucci, Shaun Clarke, Kaitlin Janisse, Chris Karzmar, Dan Karpenchuck, Alexis Koetting and Catherine McNally), an exquisitely designed, very appropriate claustrophobic set and effective lighting (Glen Davidson), music\sound (Thomas Ryder Payne) and costumes (Lori Hickling), then you’re almost certain to get the kind of dreamed-for, ideal, positive results that I witnessed that morning in that high school auditorium. The kids were hanging on to every word and action emanating from that stage. They were living their life through Anne. They were experiencing 1st hand, live, what theatre does best, it invites and encourages you to share meaningful emotions, in the moment. AND this young audience was also presumably learning to like theatre and what it has to offer them.
Bottom line? Companies like Shakespeare in Action are not as visible or high profile as many of our other professional companies here in town, but these lesser known companies that dedicate themselves primarily to youth, obviously serve an invaluable purpose.
They’re introducing theatre to the next generation while educating and developing a future theatre audience.

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reviewed by Ron Singer

What a “mish mosh of an evening”, otherwise described as, “this play is all over the map”. More Fine Girls is great and it’s awful, it’s extremely amusing and it’s boring and….well, it’s different.

The story, based on the lives of three dysfunctional, high, high energy, constantly quibbling sisters (Ann Marie MacDonald, Martha Ross and Severn Thompson, a last minute replacement for Leah Cherniak) interacting after their parents die, is not that uncommon. But what makes this an unusual production, is 1)the script, which is more like a TV sitcom consisting of a string of comic one liners, 2)the acting choices, which are naturalistic, farce, vaudeville, comedia del arte, or who the heck knows what and 3) the set, which has props and set by Judith Bowden flying in and out and off and on from all directions on one of Toronto’s smallest and normally least flexible stages.

The play was created by the actresses, Leah Cherniak, Ann-Marie MacDonald and Martha Ross plus director Alisa Palmer and Jennifer Brewin. The acting at all times during this smorgesborg of a play, is frantic, yet grounded and interesting. And if that sounds contradictory, well so is this entire production, as I keep saying. There were moments where I was thoroughly engaged and enjoyably laughing out loud. But there were an equal number of embarrassingly schticky moments where I was totally removed, bored and cringing while I watched the very talented actors pushing way too hard, trying to create a comic moment and failing. I kept wondering, what is this play trying to say? That every family has it’s share of dysfunctional members & an equal number of family secrets? Probably.

My conclusion. This play and production is obviously very uneven. Some of the humour, acting and staging is brilliant, some pathetic and not exactly my idea of a great evening in the theatre.

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performances through June 2011

reviewed by Ron Singer

No grand theatrics or spectacular technical effects here. A Spider Man, Turn Off The Dark, thankfully, it ain’t. In fact, it couldn’t be more different.

The Fantasticks is a small, intimate musical. And what exactly does that mean? Well, there are only eight cast members, two musicians (a brilliantly energetic Lily Ling on piano and a delightful Erica Goodman on harp), no major dance numbers and one very simple old fashioned, but relevant set (Christina Poddubiak). And yet, this show has the joyful impact of a successful, very-expensive Broadway musical.

The plot, music and lyrics are melodramatic, sweet and corny at certain moments and yet, they work, because like everything else in this production, directed by Joseph Ziegler, they are highly appropriate to the subject matter and they’re also beautifully simple without being simplistic. There is obviously nothing sensational here. Yet, the cumulative affect is absolutely sensational.

The Fantasticks is one of the longest running plays anywhere in the world, and seeing this production at Soulpepper led me to better understand why it can endure. I believe that it talks to old and young alike, it has an excellent balance of drama, comedy and intellect and it pushes the perfect emotional buttons for most people. It sure did for me.

The story centres primarily around two fathers (beautifully played by two stalwart pros, Michael Hanrahan and William Webster) who plot to have their respective son and daughter (very ideally cast with Jeff Lillco and Krystin Pellerin) become enamoured of one another and ultimately marry. The fathers’ thinking is, “If we order them to fall in love, they’ll never listen to us and they’re sure to do the opposite. So, let’s work at preventing them from dating and the odds are they’ll do everything in their power to disobey us in order to get together.” Does this plan work? Come find out.

Clearly, a play about young lovers is bound to deal with an abundance of youthful hormones and it’s also guaranteed to have its fair share of love songs. And it does.

For those of you familiar with the world of musical theatre, you’ll no doubt recognize the names of the superb writing team of Tom Jones (book and lyrics) and Harvey Schmidt who wrote excellently-crafted, if not always memorable, tunes for this play. However, the song that did make it big and that many in the audience will recall fondly, is Try to Remember. And Soon It’s Gonna Rain, may also be a song that generates positive memories for many. Additionally, the script tosses in references to Shakespeare and an ample number of philosophical quips to satisfy many who want more than an evening of song and dance.

The Soulpepper’s Artistic Director, Albert Schultz, seems to be having a grand old time playing the part of the Narrator who occasionally lapses into song and Michael Simpson and Oliver Dennis deliver outstanding, highly inventive comic relief.

Vocally, the cast is very capable. But then again, this play doesn’t need brilliant singers to succeed, as much as it needs strong acting. In fact, it’s the acting that takes this production to great heights. In the final analysis, I unhesitatingly call this a thoroughly gratifying piece of must-see theatre and I heap high praise on the extremely talented group of artists involved in its creation.

And as a P.S. This is the second time I’ve heard Albert Schultz sing (first time at a Tom Waits concert) and darn it, for an actor, he’s a bloody good singer. In fact, by the end of the final act, Albert and the production had me and the entire audience exactly where they wanted us. Most of us, I’d wager, were absolutely moved to tears when Albert, eventually joined by the entire cast, launched into Try to Remember, the show’s most moving at memorable tune.

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The  promotional blurb says “The Queen and Beaver Public House promises fantastic food served alongside a good pint or an excellent glass of wine – all at a price that won’t break the bank This is not posh nosh, but rather classic British dishes that have stood the test of time. All our food is made from scratch, and lovingly prepared by our British Chef Andrew Carter.”  There are two bars, one on each floor and each floor has its own patio.

The menus are innovative, and seasonally charming. The beer batter on the haddock and chips was thin and perfectly crispy, though the chips lacked the same crispiness. The venison cobbler was unusual and outstanding, and could have been improved by more crumbly topping rather than the chewiness experienced. The size of the ploughman’s platter presented a bit of a challenge in terms of size, but there was a pleasing variety of unusual additions – such as golden beets – along with the traditional cheeses and meat.

The place was full by 6:30pm on a Thursday evening, and the wait-staff over-taxed. A minor incident with a piece of plastic appearing incongruously in the otherwise delicious home-made raspberry ripple ice cream was poorly managed by our server, but immediately resolved by the maitre-d. The cheese plate was stunning.  Good value, good food, good atmosphere. We’ll return.

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Winter Garden Theatre, Toronto until April 3 (excl. March 15-20)

reviewed by Tina Rogers

Sandra Shamas mastered story telling decades ago, and continues to deliver her two-hour monologues in her inimitable and hilarious style after an almost nine-year gap since Wits End II. In the cozy familiarity of the Winter Garden Theatre on Yonge Street in Toronto, Sandra Shamas had a packed house of mostly women, but also a noticeable number of men, laughing out loud.

“WIT’S END III: LOVE LIFE continues Sandra’s story. She is still on the farm, still dealing with everything life throws at her. With brilliant insight, Sandra tackles every hurdle, and along the way she pokes fun at her own foibles in an earthy, honest and hilarious way. From exploring changes in her body as she ages, to dealing with the delicate negotiations of purchasing the perfect little red tractor, to hiring someone to help with the heavy farm machinery, Sandra never loses sight of the importance of loyalty, humour and love.”

Admittedly those of us ‘of a certain age’ likely related more intimately to her accounts of Sex-Ed in the sixties, and more recent menopausal symptoms, but there was indeed something for everyone in her material which she delivers with aplomb and a delicious sense of mischief behind her twinkling eyes. Over two hours with a short intermission, and not once did she falter or lose her engaged audience.

“Love Life” is less about romantic interludes and more about the joys of living an interesting and tumultuous life, including becoming a small farmer, going to parties in Toronto as a single woman, and the coming of age stage for women over 50. The material is extremely well written and presented impeccably. The time simply flew by, and left us all wanting just a little more.

Can’t wait for Wits End IV, but we sincerely hope it won’t be another nine years in the making. This is Sandra Shamas at her best.

From the SHOW website …

One of Canada’s most celebrated comic artists, Sandra came into her own as a performer, writer and producer in the mid 1980s with My Boyfriend’s Back and There’s Gonna Be Laundry. From its very first performance at the Edmonton Fringe, the show was a smash success, eventually touring the country and even playing the legendary Old Vic Theatre in London, England (the first Canadian show to have that distinction in the theatre’s long history). Two more Laundry plays followed, each playing to sold-out houses across Canada; the trilogy eventually published and shortlisted for the Governor General’s Award and the Stephen Leacock Award for Humour. Sandra won a Gemini Award in 1991 for Best Performance in Comedy, and won the Best Theatre Award at the U.S. Comedy Arts Festival in March 2003.

After some time away from the spotlight, Sandra returned to performing with Wit’s End, a show that chronicled her move to country living. It played 11 sold-out weeks at the 1,000-seat Winter Garden and then toured to major theatres across the country. It was followed by Wit’s End II: Heart’s Desire, which enjoyed similar success.

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reviewed by Ron Singer

Saint Carmen of the Main was written by the prolific French Canadian playwright Michelle Tremblay and it was originally produced in 1976 in Montreal during that 70′s period of the Quiet Revolution in Quebec when Separatism was a hot political topic.

Tremblay’s plays were the first to directly and blatantly champion French Canada, French Canadians and French Canadian culture. And one of the ways he did that was by using Joual, the French Canadian dialect, in all his plays. This went a long way to legitimizing the dialect. (The word Joual, is a corruption of the French word cheval, or horse and is the way the average French Canadian presumably pronounces the word cheval. As a consequence, for who knows what reason, the word, Joual has become the official name for the Quebecois dialect.)

Beyond encouraging French Canadians to be proud of their dialect, Tremblay wrote honestly about the lives of the ordinary French speaking people of Quebec, hoping to show them through his writing that they and their culture were as valid and authentic as any. In this play particularly, Carmen of the Main, Tremblay was unequivocally urging Quebecers to wake up, acknowledge and accept who they were and be proud of themselves. He wrote this play like a Greek tragedy, using a Greek Chorus and the story of Carmen’s life and career as an allegory to encourage the emerging Quebecois Nationalism.

For Quebecers, particularly at that time in the mid 70′s, the style and content of Tremblay’s plays had a dynamite affect on the Province. They were a phenomenal and timely fuel feeding a rapidly exploding cultural awareness.

The play centres around Carmen (Laara Sadiq), a French Canadian Country and Western singer who performs in a seedy bar that is owned and operated by a slimy, cynical French Canadian businessman, Maurice (Jean Leclerc). This disreputable man and his bar cater to the drag queens, hookers, transvestites, pimps and their likes on The Main (otherwise known as St Lawrence Boulevard) in Montreal. And this rag tag group of every conceivable size and distorted shape takes on the role of Greek Chorus in this play, narrating and at times forecasting events, both joyful and tragic.

As the play opens, we learn via the very colourfully attired but raucous, and irreverent chorus that Carmen, their absolutely favourite singer, has been away and is now returning home. She has been in Nashville for the past six months learning how to yodel in order to be a better Country and Western performer and the denizens of The Main can’t wait to hear the new and improved Carmen. However, rather than the more polished C and W Carmen, she reveals an entirely new and very different voice.

This new Carmen abandons C and W in an attempt to help the people discover their voice. She writes about the people in order to validate them and her song starts a revolution. Then, since this play was written in the style of an ancient Greek tragedy, suffice it to say, things predictably go downhill for the Antigone-like Carmen, as they ultimately do for all tragic Greek heroes/heroines.

Carmen of the Main is a co-production between the National Arts Centre in Ottawa and Canadian Stage with the director (Peter Hinton) and a generally strong acting company imported from Ottawa. But in spite of the over-all very capable cast and interesting director, there were only two exciting performances. The first was Hairlip, (Diane D’aquila) Carmen’s butch-lesbian dresser/caretaker and the second was Toothpick, (Joey Tremblay) a hit-man, whose ominous and threatening presence could be felt throughout the play.

Having grown up in Quebec during the cultural revolution, I found this revival interesting and somewhat nostalgic, but overall, it didn’t really work for me. It was far too heavy in its emphasis on style (costumes and set) and that tended to weigh it down and prevent it from ever taking off.

Some critics have labelled this play as outdated, but I don’t necessarily agree. It’s not the subject matter that is out of date, since a people awakening to their problems and subsequently rebelling is obviously still very much in vogue and always will be.

Of course, with some effort and a bit of a stretch we can draw parallels to the masses rebelling in the Middle East. So, it is not irrelevant today even though Separatism is no longer a prime threat. But director Hinton’s over-eager attempt to update the play by creating a visual spectacle, simply didn’t work.

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