Shakespeare in Action

The Diary of Anne Frank

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.

South Pacific

Comfortably cheesey

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.