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.

Related posts:

1. The Adventures of Priscilla, Queen of The Desert
2. South Pacific
3. Scottsboro Boys

at Toronto Centre for the Arts until April 10

reviewed by Tina Rogers

Directed by Bartlett Sher for Dancap, this celebrated production of Richard Rodgers & Oscar Hammerstein’s prize-winning musical SOUTH PACIFIC, completely revivalist and “earning unprecedented raves this past summer from Toronto critics”, opened at the Toronto Centre for the Arts in February 2011. Lead performers David Pittsinger as Emile de Becque and Carmen Cusack as Ensign Nellie Forbush returned to Toronto for this engagement, and were two of three performance highlights in this throwback from 1949.

Based on James A. Michener’s Pulitzer Prize winning book Tales of the South Pacific, Rodgers & Hammerstein’s SOUTH PACIFIC has music by Richard Rodgers, lyrics by Oscar Hammerstein II and a book by Oscar Hammerstein II and Joshua Logan.  Set in an island paradise during World War II, two parallel love stories bloom amidst the trappings of war and prejudice. The show’s score includes such classic songs as “I’m Gonna Wash That Man Right Outa My Hair,” “There is Nothin’ Like A Dame,” and “Some Enchanted Evening.”

As Pittsinger (in this role until Jason Howard returns in March) and Cusak lilt into “Some Enchanted Evening” in the opening scene, it’s like slipping into an old pair of slippers – it feels that comfortable and predictable. And this theme of comfort and predictability resonates throughout what can only be described as a sleepy production. Truly, the set is commendable, the large cast well-managed and on their marks, and the adherence to the traditional South Pacific is like SuperGlue.  But, and it’s a big ‘but’, there was no apparent attempt to improve or update the old to bring it into the 21st century. The production ranked as ‘good’, but not spectacular.

Keeping it all traditional – or perhaps being only the fourth night after opening – made for an extremely slow and turgid pace. Nothwithstanding the great talents of David Pittsinger (superb bass-baritone) and Carmen Cusack who together carry the show, the commitment to character displayed by Timothy Gulan playing Luther Billis, and the superb musical performance by the orchestra, this was an anachronism of a production that was screaming for an update. Apart from Gulan, the performers were stiff, the (French and Arkansas) accents were appalling, and the material – lacking stellar performances by the crew – was seriously outdated. It left me convinced it was deliberately hammy’ to parallel the performance styles of 1949.

So much do I love live performances of almost any kind including musicals, that this has never happened to me before: I’m ashamed to admit I nodded off. Not the head back wide open drooling mouth kind of sleep on airplanes, but the head-nodding slip into temporary unconsciousness with a quick wrench back to a more or less awake state. S-L-O-W.

If the cast can whip through the material faster, with fewer uncomfortable/sleepy pauses, commit to their dramatic performances not just the musical side, and convince the audience that they are having the best of times on stage, this would help to enliven a solid musical brimming over with nostalgia, especially for baby boomers.

Related posts:

1. The Fantasticks
2. The Cherry Orchard
3. Legally Blonde

reviewed by Ron Singer while visiting NYC

This is probably one of the most provocative, cleverly-conceived and interesting musicals produced this year on Broadway. Yet it closed December 12th 2010 after a very limited run in spite of the large number of positive critical reviews.

Why? Because The Scottsboro Boys is based on an all too common, horrifically true, “American South, we hate the blacks” type of story circa 1930, just as the depression was breaking and it seems that this type of material is simply too raw for the American psyche. America, at this particular point in time, has no desire to be reminded of any of its past or present negative tendencies.

This musical was staged as a trial, re-enacted by the falsely accused Blacks, who also portrayed many of the Whites involved in the story. And the reaction of the audience the night I attended this production makes it painfully clear that the Civil War is still being fought in this 21st century in these dis-United States of America. Angry audience members actually shouted obscenities at the stage as they angrily and noisily stomped out of the theatre mid-scene.

This up-tempo, appropriately broad, minstrel-y, jocular, excellent song and dance production, but underlying very serious take on a real life, Southern US racist tragedy, was shunned by many who believed that tragic material is unsuitable subject matter for musicals. I couldn’t disagree more. For example, one exceptionally brilliant ironic musical number sung by the Whites and tap-danced by the group of condemned Blacks was, “Electric Chair” (what a great way to die). Musicals don’t always have to be happy, joyful and mindless entertainment.

Additionally, to add insult to injury, apparently, some folks stayed away from this play because, they felt that it was inappropriate for a tragic story about Blacks to be “expropriated”, as they put it, by Whites, since this play was written by John Kander and Fred Ebb, two White Americans.

Anything controversial or critical of the US at present is obviously too high-concept, I fear, for the Broadway audiences of today. This was clearly a play ahead of its time.

Pity. Sad. Very.

Related posts:

1. The Fantasticks
2. Time Stands Still: on Broadway
3. South Pacific

by Ted Loviscek

If you are used to going to the theatre and seeing one long show, with one theme, the same storyline, and the same characters throughout, An Evening With The Second City is not that. It is closer to 20 short shows (sketches), with actors playing many characters, and if there is one theme, it’s that it’s all funny.

Current events are being spoofed, satirized … topics range from local events to relationships to religion to funerals. All have a place in making you laugh. If you are seventy or twenty, there will be something (or everything) included to get many laughs from you. This current ensemble cast consists of Rob Baker, Dale Boyer, Adam Cawley, Caitlin Howden, Inessa Frantowski, and Kris Siddiqiand and is directed by Chris Earl. Not only does this group perform the show, they also wrote it  – a ‘collective creation’.

The ensemble has been assembled from the best from the Second City touring company that came from the best from Second City student productions. They usually stay with the group two or three years. The director has been with the company for 20 years, himself starting as one the performers. Director Earl explains, “In terms of sketch comedy, I think we are the gold standard. Our mandate is to be topical and satirical. We’re not going to be as underground as the others. What we will do is put on a show with a level of sophistication, theatricality, and polish, that you wouldn’t normally see with the other sketch troupes.”

Performing the scenes without props (except chairs) and no special make-up or costumes, the cast still keep all their voices, faces and characters believable. We see the problems of home schooling, showing how dysfunctional parents discover and cope with their daughter’s “sex-ting”, and sketched  continue to roll. Male/female relationships. Bratty children. The Catholic Church. Funerals. YouTube. All are targets for this bunch of six.

And if you aren’t laughed out after the two hours of show, as a bonus after a short break the cast is back – trying out and performing new material that may be included in their next show.

Being both and a writer and performer, Ted Loviscek has written and reviewed the performing arts, the entertainment scene, and its people in Toronto for publications including the Grapevine, Toronto Tonight, and the Toronto Star. As well as being a published, and prize-winning playwright, part time comedian, he has contributed material to radio programs on CFRB and AM640 — as well as having written and performed on CBC television.

Related posts:

1. This Second Place is Gold
2. What the Butler Saw: reviewed
3. Jitters

I confess. I haven’t been to the Young Centre for the Performing Arts in the Distillery District before, even though I’ve lived in the GTA for almost 30 years. Until just now.

Our Theatre Critic Ron Singer reviewed Soulpepper Theatre’s production of Jitters recently, which compelled us to go, so encouraging were his words. We were not disappointed. Jitters supplied three acts of engaging performances, a crazy story of theatrical crises, and laugh out loud moments.

What impressed us was how perfect was the setting. The foyer is a suitably spacious informal focal point in which audiences attending different productions can mingle, the F&B is speedily and cheerfully served, and the prices are reasonable. If you love old industrial brick architecture with lofty ceilings, that characterizes all of the Distillery District, Young Centre will not disappoint.

The theatre, the auditorium, whatever you want to call it – Jitters was in the Baillie Theatre – is special. It seats – and I’m guessing here – a few over 200 people in an intimate but not cramped setting which makes each member of the audience feel really in touch with the players. Big enough to create a vibrant atmosphere, small enough to make you feel special. We like that!

I’m thinking of signing up for the season.

Related posts:

1. Must-see: Global Cabaret Festival
2. Announcing Expert Theatre Critic
3. Hamlet live: at Cineplex

Lamenting lashes no more

“Give it to me with all speed!”

Well, what would you say if Toronto’s leading cosmetic surgeon, Dr. Trevor Born, told  you he had a product that could help grow long sweeping eyelashes in three months, and show an improvement in just four weeks?  Admittedly, they weren’t the shortest eyelashes ever, but Christina was convinced that her almost 60-year old eyelashes were markedly stubbier than they had been in her glorious, wide-eyed youth.

One of Toronto’s most respected Cosmetic Plastic Surgeons, Dr. Trevor Born (a clinical lecturer and instructor of Cosmetic Plastic Surgery Training, with expertise in the fields of facial rejuvenation and body contouring) has the skinny on a miracle liquid that will, within three months, render your eyelashes to the state they were many decades ago, or perhaps even better. It is a pharmaceutical creation, which means you have to get it from a doctor, and you have to apply it daily for 12-16 weeks to get the optimum effect. There’s some after-growth maintenance too.

Related posts:

1. Longer eyelashes: yes!
2. Longer eyelashes: yes!
3. Eyelid surgery

We’ve been trying out Bimatroprost by Ocular Esthetics  ever since Toronto’s leading cosmetic surgeon, Dr. Trevor Born, clued in a Tempo Toronto team member that he could help her grow the long sweeping eyelashes of her youth, in three months. We took pictures to document the progress. All of the ones shown here are with naked eyelashes – no mascara, no product, no anything.

Dr. Trevor Born is a clinical lecturer and instructor of Cosmetic Plastic Surgery Training, with expertise in the fields of facial rejuvenation and body contouring. In his practice, he can offer a product (called Latisse in the United States) that potentially returns eyelashes to the state they were in your twenties, or perhaps even better. It is a pharmaceutical creation, which means you have to get it from a doctor, and you have to apply it daily for 12-16 weeks to get the optimum effect. It is not for everyone, your eyes must be healthy, and you have to apply the product with care and attention.

There’s some after-growth maintenance too (continued application every two or three days). Dr. Born discussed all the benefits, how to use the product, and all the risks – in his inimitable, caring fashion – and we were good to go.

Each day you have to apply a thin line of the liquid along the base of your (clean) upper eyelashes. That’s it! We promised you the results after three months. And here they are. It really works. (In case you’re wondering, we did pay for the product.) Stunning. Not bad for eyelashes that have been around for almost six decades!

www.drtrevorborn.com

199 Avenue Road, Suite B Toronto, Ontario M5R 2J3 416. 921. 7546 info@drtrevorborn.com

Related posts:

1. Longer eyelashes: yes!
2. Batty eyelashes – now there’s hope
3. Eyelid surgery

It’s a little gem! Sadly, Six Dance Lessons in Six Weeks ends its short run at the Rose Theatre in Brampton on January 17. But we were fortunate to catch it.

This witty comedy was sensitively written by Richard Alfieri and brought to life by two dynamic actors who drew us into the laugh-out-loud comedy and the touching pathos in this bittersweet story about the nature of friendship. Lily, a 72-year old widow played masterfully by the most elegant star of stage and screen Constance Towers, 76, (most known for her work on General Hospital, and middle-aged dance instructor Michael, engagingly played with panache by musical theatre star Jason Graae, 51, used foxtrot, tango and waltz to uncover lessons about love, loss and redemption.

PR by dkpr public relations inc.

Related posts:

1. Jitters
2. South Pacific
3. Russell Peters hosts variety show for Gilda’s Club

She has hypothetically weighed 350 pounds, been a prisoner of war, a penguin behind bars, a high priced hooker, a cold-hearted killer, a cool-eyed commander, the mother of a trans-sexual rock star and a mixed-up mom. She’s even been a hologram.

She is Alberta Watson – and though she may have portrayed a prisoner (in ‘Women of Valor’, co-starring Susan Sarandon), for the rest of an astonishing career on film and television, she sure doesn’t take many.

The actress – born Faith Susan Alberta Watson – who has starred in hit TV shows ‘24’, ‘La Femme Nikita’, ‘Law and Order’ and ‘The Border’, and earned the moniker “Queen of the Indies” for high-profile independent films like ‘Spanking the Monkey’, ‘The Sweet Hereafter’, Hedwig and the Angry Inch’ and ‘Away From Her’, continues to receive plum roles and glowing reviews after nearly 30 years in the business. And does it firmly based in Toronto.

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At 54, the key to her success appears to be consistently aiming for ‘actress’ not ‘star’. She hit the target dead on. Her choice of trajectory has enabled her to keep working when others have hit the wall; she’s been able to balance fascinating, quirky and demanding character studies against high-profile mainstream parts.

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This combination meant succeeding at a level that enabled creation of a beautiful life for herself with a townhouse in Toronto and a gorgeous cottage on her own private island outside the city.

What is her secret?

“Well, I never really looked like the girl next door to start with,” she laughs. “I was dark and different-looking. But I had such passion that I think the casting people and producers and directors just felt right casting me. And I’m lucky.”

With a career that began in film at the age of 23 in (ironically) ‘In Praise of Older Women’, perhaps the luckiest move of all was being cast nearly 20 years later in the prime time TV series that gave her the role for which she is arguably still best known and a place in the pantheon of characters idolized by a certain sect of fandom. In the hit cable show ‘La Femme Nikita’ (based on the French film) she was the coldly, clinically, murderous Madeline and audiences, particularly women, ate it up.

“They loved seeing a strong woman operating at the top of her game: one who never compromised or backed down,” says Watson. “Madeline was powerfully single-minded and confident; two of the most important qualities, incidentally, in maintaining a career in this business.”

Also important qualities when one is trying to survive cancer.

Like a bad movie, just as our heroine was settling into a successful second season starring on Nikita, she was side-swiped by the worst kind of news: a life-threatening diagnosis of lymphoma which required surgery, chemotherapy and a whole host of devastating side effects that for a time left her wondering if she was going to make it.

She made it through the appalling chemo – the strongest sort available. She lost her hair (a heartbreak for any of us – but for a glamorous actress starring on a TV show?) but never her beloved partner of 14 years, Ken Sedgwick, nor the circle of friends and colleagues who rose up to support her in ways she still appreciates beyond all measure. The Nikita producers kept her on – giving her all the time and the wigs she needed to keep working.

And now, a dozen years later, she keeps working – and living – and loving her career. The co-starring role of boss-woman Erin Driscoll on ‘24’ followed, as did the film ‘Away From Her’ (with Julie Christie) , CBC’s popular prime-time drama ‘The Border’ (where she plays a government MP, and recovering alcoholic) and a host of others.

Most recently Watson was cast as the voice of 350-pound Mary Rutherford in the fascinating, NFB animated film ‘The Spine’ (produced and directed by Academy Award-winning animator Chris Landreth. Premiering in Toronto this past June, there’s Oscar buzz for ‘The Spine’ already.

“It’s very different approaching work as a mature actress,” she says. “There are fewer parts and the ones that are there, well, the producers still want you to look decades younger. The pressure on actresses to go to drastic ends to achieve a look of frozen youth has had some scary effects that I think we’ve all seen. All I can do is keep showing up and doing my best.”

“If I’ve learned anything in this career it’s that you have to hold on to the wisdom you’ve earned and to use it in your work. I bring an authenticity and experience in my work now that only comes with age and time.”

“I have an entirely different career now than the one I began with at 16,” she adds thoughtfully. “And I wouldn’t have it any other way.”

“And, oh yeah,” she says with that laugh, “you can quote me on this: you really can’t sweat the small stuff – you’ve got to have a little faith.”

We could all use a little Faith… Susan… Alberta… Watson.

Jane Wilson

Related posts:

1. Marcus Nance
2. Closing the gap year gap for Toronto