Favourite Theatre of 2020

With the 2020 theatre season cut short by a global pandemic, I expected my list of favourite theatre for the year would be very short. I miss live theatre and that glorious experience of the lights going down and a group of strangers sharing an experience together, but I think the circumstances (both Covid-19 and then the Black Live Matter movement making important and long overdue conversations happen in the arts) have forced companies to innovate in lasting ways. Here are some of the theatre experiences, whether live, live streamed, or recordings I found for the first time, I loved this year:

“Caroline, or Change” (Obsidian Theatre/Musical Stage Company)
I don’t care for this musical. I don’t understand what the personifications of inanimate objects add to the story and it’s a musical where very little actually happens with a score that I find forgettable. That said, I can’t imagine a better production of this musical than the one I saw in February. It didn’t hurt that this was the first performance I’ve ever seen in one of Toronto’s most beautiful but little used (for theatre anyway) locales, The Winter Garden Theatre! The set was gorgeous and used levels well to denote place, but what really sold this was a tremendous cast anchored by R&B singer Jully Black as Caroline. Black’s portrayal of Black maid CarolineThibodeaux during the Civil Rights movement and the assassination of President Kennedy was subtly powerful and her voice was enough to make you leap from your seat to applaud. Rising star Vanessa Sears was also a standout as Caroline’s more progressive daughter, Emmie.

“Amadeus” (The National Theatre)
I’d only ever seen the 1984 movie adaptation of Amadeus, so I jumped at the chance to watch the National Theatre livestream of their 2018 production during quarantine. It’s an excellent production in almost every way. I love the costumes, set, and direction and I thought Lucian Msamati’s performance as Salieri was a masterclass. Unfortunately I wasn’t keen on Adam Gillen’s Mozart. It’s a difficult role that really requires balancing Mozart’s childlike naiveté, his genius, and how insufferable and proud he can be. A balance that Tom Hulce gets so right in the movie. Gillen too often came off as childish rather than childlike, throwing tantrums like a toddler, and I wound up entirely on Salieri’s side. It’s a shame the balance wasn’t there because everything else about this production I adored.

“A Streetcar Named Desire” (The National Theatre)
A bright spot in the pandemic was learning that my library had subscribed to some performance databases, including the National Theatre Collection. Looking through their productions led me to this Gillian Anderson-led gem. I’d only ever seen a ballet adaptation of Streetcar, so it was really interesting to watch a production of the play. Anderson gives a masterful performance as Blanche and it took me awhile to even recognize The Crown’s Vanessa Kirby! I wasn’t quite as taken with Ben Foster’s Stanley, but this play was still so compelling that it didn’t feel long at all. Highly recommended.

“Julius Caesar” (The National Theatre)
Another National Theatre Collection find was Julius Caesar, starring Ben Whishaw (Brutus), Michelle Fairley (Cassius), and David Morrissey (Mark Antony). Julius Caesar is a play that I had never read before Project Shakespeare asked if I had any interest in playing Cassius. I absolutely fell in love with it and watched two productions, of which I much preferred this. Whishaw and Fairley have a lovely dynamic as Brutus and Cassius and the modern setting, which doesn’t always work for me, was very effective here. I’ll probably watch this again ahead of Project Shakespeare Round II: Julius Caesar.

“Ghost Quartet in Concert” (Crows Theatre)
It really took most theatre companies about six months to figure out how to make effective streaming theatre, either by pre-recording or by performing live for the camera. The live production of Ghost Quartet in 2019 was one of my favourite theatre experiences of the year and I listen to the music from it a lot so I couldn’t wait to see the cast reunite and film a concert version of the show in October. This was one of the isolation theatrical experiences that felt most like being at the theatre to me. My mom and a few friends all bought tickets for the same date/time and afterwards we texted about our experiences. The sound was absolutely glorious, the four-person cast had terrific chemistry and were in fine voice, and I loved that the creative team who made the live show so engaging an experience were involved in this filmed and streamed concert version.

“Porchside Songs” (Musical Stage Company)
One Toronto theatre company that pivoted quickly and intelligently to our present conditions was The Musical Stage Company. Their announcement in the summer and fall that they would put on a series of socially distanced, live music concerts, each featuring a few well-known local artists (including the exquisite Hailey Gillis) in a Toronto front yard was innovative and exciting. I immediately texted a friend and while we missed out on the first set of timeslots trying to find a date that fit everyone’s schedules, the performances sold out and new dates were added, one of which she secured. The performers stood more than six feet away and wore masks when not performing, audience members (who adhered to public health guidelines) were also masked except when in our six feet apart chairs, and when the music started I was not alone in blinking back tears. That feeling of experiencing live performance with a group is like no other and this performance meant the world. Also Hailey Gillis was in my friend’s yard singing with her beautiful voice and accompanied by another fave, Andrew Penner! Just an exquisite night.

“Secret Life of a Mother” (The SLOM Collective/The Theatre Centre)
Neither the friend I went to see this with in February or I have kids or ever intend to have kids, yet both of us teared up over this raw, darkly comic exploration of pregnancy and motherhood. Breaking taboos right, left, and center, this one-woman confessional piece talks about miscarriage, panful childbirth, and feeling like a failure as a mother. Playwright Hannah Moscovitch and real life close friend, actress Maev Beaty (who have collaborated before on “Bunny”) are a match made in heaven. Beaty was already on my short list of Toronto actors I would see in literally anything and this only affirms that view. I really wish I’d gone earlier in the run so I could tell every woman I ever met to go see this.

“The Cellist” (The Royal Ballet)
Oh how I loved this! Choreographer Cathy Marston (who choreographed the Jane Eyre ballet I saw in 2018) created this one-act ballet about talented post-war cellist Jacqueline du Pré, whose career and life were cruelly cut short by multiple sclerosis. The Royal Ballet premiered this work in February 2020, just before everything shut down, and the ballet was streamed for a limited time in June by the Royal Opera House. Lauren Cuthbertson, who originated the roles of Hermione in The Winter’s Tale and Alice in Alice’s Adventures in Wonderland, is exquisite here, giving a nuanced performance as du Pré. Her sense of loss as her condition deteriorates is keenly felt and left me weeping. Marcelino Sambé is equally compelling as her cello. So often in ballet the story is centered around a pair of lovers, the better to allow for pas-de-deux, but The Cellist is focused on a woman’s love for her instrument and the beautiful music they create together and I found that especially moving. It looks like a DVD/Blu Ray will be released in February and I can’t wait to get my hands on it!

“Acts of Faith” (Factory Theatre)
Like many of you, I’ve found it hard to concentrate and remain focused during the pandemic. I keep reaching for my phone and absently scrolling, but I didn’t reach for my phone once during Factory Theatre’s live streamed performance of Acts of Faith, a one-woman play starring Natasha Mumba. The story follows Faith, a young African woman who gets mistaken for a prophet. Faith begins using her ‘gift’ to right wrongs and punish the wicked, but her actions erode her own faith and drive her away from home and church. I literally couldn’t take my eyes off of the charismatic Mumba for the entirety of the play and the script was funny, moving, thoughtful, and tightly paced. If you ever get a chance to see a production of this play, do it!

“Angels’ Atlas” (The National Ballet of Canada)
How surreal that I saw this just over a week before the world shutdown! Even in a parallel universe where we had a full theatre season, this would still be the best thing I saw. There aren’t enough superlatives in the world to describe how much I adored choreographer Crystal Pite’s Angels’ Atlas. The ballet is a perfect blend of luminous lighting design, music that accentuates the emotional aspects of the ballet, particularly the rapturous choral music, ingenious choreography by Pite, and a talented company of dancers able to execute Pite’s version perfectly. Fittingly for our times, Angels’ Atlas is a ballet about human connection, which means I haven’t been able to stop dwelling on it over the last ten months. It left me breathless and teary-eyed; I hoped it would never end. I can only imagine how much more meaningful it would be after the pandemic when we’re able to safely gather again. I’m desperately hoping The National Ballet brings this one back soon – ideally as their return to the stage. Reader, I would weep buckets.

PROJECT SHAKESPEARE
What can I say about Project Shakespeare that I haven’t already said and that can’t be summed up by overuse of the heart eyes emoji? Project Shakespeare has honestly saved me. Living alone and with no work to do from home it fulfilled my need for social interaction, not only bringing me closer to friends but introducing me to supportive, talented, new friends. It forced me to stop doomscrolling and put me in touch with my creative side as I took on costumes and props ranging from 18th century hair to The Bear in the famous stage direction from The Winter’s Tale to building a life-size cardboard coffin! It brought me out of my shy, introverted shell and released my inner Leo. It made me laugh at a time when I couldn’t stop crying. And, of course, it gave me a renewed appreciation for The Bard. Thank you Abby and Rachel for making this happen. For giving me theatre at a time when there’s been precious little, and for letting me make theatre, when I had only ever been a fan before. Truly a highlight of the year. Also, we’re famous in England.

How was your year in theatre? Did you take advantage of global streaming from The Stratford Shakespeare Festival or the Royal Opera House? Did you participate in theatre with your friends? Let me know in the comments!

Stay at Home Shakespeare

Like many bookish friends, I’ve been reflecting a lot on Emily St. John Mandel’s prescient novel Station Eleven lately. For those who haven’t read it, the book takes place after civilization has been destroyed by a deadly pandemic known as the “Georgia Flu”. (Despite the premise, it’s a beautiful, lyrical book that’s ultimately hopeful about humanity and if you haven’t read it but are one of those who devoured the 2011 thriller Contagion in March you should definitely pick this up. If you don’t like your fiction quite so eerily relevant to current events, I’d suggest making a mental note to read it in a few years). I recently attended a TPL crowdcast event promoting Mandel’s new novel, The Glass Hotel (which you can watch here), where the interviewer mentioned that Station Eleven (2014) has re-entered the Canadian Fiction bestseller list in the wake of COVID-19. I don’t think any of her readers expected to relate to the characters of Station Eleven in such a literal way, but almost as unexpected is just how much I’m relating these days to the novel’s theme of connection with others through art, and more specifically, through Shakespeare.

From Zoom readings of his works conducted both by amateurs armed with a great deal of enthusiasm and actors taking their passion for their craft virtual while they wait for theatres to reopen to free streams of his plays by respected institutions across the globe, the Bard seems to be everywhere these days! So whether you’re keeping a carefully organized list of Shakespearean and other theatre productions to stream before they disappear or are simply looking to dip your toe into the water, here are a few ways to incorporate some Shakespeare into your quarantine life!

Shakespeare Plays Streaming

The Stratford Festival
I have to start with some homegrown Canadian Shakespeare talent, which means the Stratford Shakespeare Festival! Located in Stratford, Ontario, Canada, the Stratford Festival runs annually from April to October. Although its primary focus is Shakespeare, the Festival also performs other plays and even some musicals in rep/rotation. The festival is offering free streaming of 12 of its productions, scheduling its film showings around four themes that seem relevant today: Social Order and Leadership, Isolation, Minds Pushed to the Edge, and Relationships. A new film is released each week on Thursday and it’s then available for 3 weeks on the Stratford Festival website. Their kick-off production, “King Lear”, has now expired, but here are the next several weeks and their availability:

Available Now:
“Coriolanus” (April 30 – May 21) * expires this Thursday
“Macbeth” (May 7 – May 28)
“The Tempest” (May 14 – June 4)

Upcoming:
“Timon of Athens” (May 21 – June 11)
“Love’s Labour’s Lost” (May 28 – June 18)
“Hamlet” (June 4 – June 25)
“King John” (June 11 – June 25)
“The Adventures of Pericles” (June 18 – July 9)
“Antony and Cleopatra” (June 25 – July 16)
“Romeo and Juliet” (July 2 – July 23)
“The Taming of the Shrew” (July 9 – July 30)

Shakespeare’s Globe Theatre
A reconstruction of the Globe Theatre, the Elizabethan theatre in London where Shakespeare’s plays were performed, Shakespeare’s Globe Theatre performs plays, offers tours and educational visits, and serves as a cultural landmark. During its closure, Shakespeare’s Globe Theatre is making some of its plays available online. While Macbeth is available until schools reopen in the UK, other selections will be available to stream for 14 days:

“Macbeth” (2020) – available until UK secondary schools reopen.
“The Winter’s Tale” (2018) – May 18 until May 31
“The Merry Wives of Windsor” (2019) – June 1 until June 14
“A Midsummer’s Night’s Dream” (2013) – June 15 until June 28

If your Shakespeare itch is still not scratched or there’s a different play that you’re looking for, Shakespeare’s Globe also has additional selections on its on demand platform Globe Player to rent, purchase, or send as a gift.

Shakespeare’s Globe Theatre in London raises 95% of its revenue through ticket sales, guided tours, education workshops, retail and catering – which all depend upon the venue being open to the public and are in critical danger of not being able to reopen after the pandemic so I know times are tight for many of us, but if you are able to donate to the Globe or help one or more of these wonderful arts organizations offering programming, please consider doing so.

National Theatre Live
The broadcast arm of the National Theatre in London has been streaming a different play every Thursday. Plays are then available to watch for 7 days. I missed their acclaimed production of “Antony & Cleopatra”, but between June 4th and June 11th you can stream the 2014 Donmar production of “Coriolanus” starring Tom Hiddleston. Although I can’t say Coriolanus is my favourite play, this is an excellent adaptation of it which I was lucky enough to see during my trip to London in 2013!

PBS Great Performances
Getting on board with free streaming content, PBS Great Performances has unlocked the 2009 Rupert Goold production of “Macbeth” starring Sir Patrick Stewart.

Shakespeare Ballets Streaming

San Francisco Ballet’s “Romeo & Juliet”
This ballet adaptation of the classic tragedy “Romeo & Juliet”, danced by the San Francisco Ballet Company, is streaming on Youtube from May 11 until May 25 as part of #LincolnCenterAtHome. If you’ve never seen a ballet adaptation of Romeo & Juliet it has a gorgeous score by Sergei Prokofiev and is well worth watching!

The Royal Ballet’s “The Winter’s Tale”
One of the major reasons that I wanted to write this blog post was to let people know that one of my all-time favourite ballets, and the ballet that I would most recommend to someone who has never watched a ballet before and is curious (please don’t just watch the bloody Nutcracker and call it a day) was available to stream for free! The Royal Opera House has been alternating weeks between filmed performances of its opera and ballet performances. Christopher Wheeldon’s “The Winter’s Tale”, danced by The Royal Ballet, premiered on their Youtube channel on May 1st and was supposed to be available to view until June 1st. Unfortunately, and without any explanation, it’s been taken down early. I know it’s incredibly tacky to complain about something free (does it help that I legally purchased a copy of the blu ray?), but I know there were people who planned to watch but, due to the overwhelming amount of time sensitive theatre content out there, were waiting because they believed they’d have time, so it seems a little unfair. Still, if anyone is interested in this one I may have a way so um give me a shout if you’re interested?

American Ballet Theatre’s “The Dream”
This isn’t part of the overwhelming amount of content made available for a limited time during the pandemic, but an older filmed version (from 2002) of Fredrick Ashton’s charming one act ballet based on “a Midsummer Night’s Dream” is available in its entirety on Youtube.

Marquee.tv
If your finances haven’t been impacted by COVID-19, or if you’re comfortable signing up for a free trial and cancelling before the charges begin,this honestly does look like a pretty cool subscripton service featuring ballet, films, etc. although the layout makes it very hard to find everything that is available. Personally I don’t think there’s enough there for me to consider an annual subscription but maybe the free trial or for a few months. It does have my beloved “The Winter’s Tale” production by the Royal Ballet as well as I think a more recent HD version of Fredrick Ashton’s “The Dream”. Other Shakespeare includes a whole bunch of Royal Shakespeare Company productions, including “Richard II” with David Tennant.

Shakespeare Zoom Readings

#ProjectShakespeare
For the last four weeks #ProjectShakespeare has been the highlight of my quarantine! I was invited by Rachel and Abby to join the group and made my debut in April playing the integral roles of Francisco, Cornelius, and Messenger in “Hamlet”. While I took musical theatre and dance lessons and even a year of drama in high school,
I’m a shy, anxious person who loves watching and writing about plays and musicals but has never entertained dreams of appearing in them. Yet despite the intimidating level of talent and dedication in this group, everyone is so supportive and welcoming that I’ve enjoyed every single minute of preparation and performing. I’ve since appeared as Luciana in “The Comedy of Errors”, Cordelia in “King Lear” (a highlight for me!), and Don Pedro in “Much Ado About Nothing”. As a casual group ultimately reading/performing Shakespeare for fun, we decided that recording or streaming the performances would be somewhat daunting so these aren’t available to view or rewatch, but if you have a group of friends, or friends of friends, that would be interested in reading Shakespeare or other plays, I would highly recommend Zoom readings with friends!

#CoronaColdReads
The first stirrings of an idea for a post about the prevalence of Shakespeare in our coronavirus times came when I had to turn down a request to read a small part in a special birthday edition of a Shakespeare Zoom reading by a friend because… yes, you guessed it, I had already committed to another Shakespeare zoom reading! Kelly Bedard, the creator and editor of an online Toronto-based independent theatre (and film and TV) review site called My Entertainment World has been running her #CoronaColdReads twice a week. Streaming live on Youtube (but you can also watch the full performances after the fact) on Tuesday and Saturday nights, roles are mostly played by actors she knows from the Toronto indie theatre scene and by friends from her Alma Mater’s Shakespeare Society, although other actors have also appeared and the “King Lear” #CoronaColdReads cast features some pretty starry names if you’re at all familiar with the Toronto/Stratford theatre scene! During May they’ve been performing the history plays and I can’t watch to stream some of these soon.

Although, as an avid theatre-goer, I see an average of one Shakespeare production every year or so, Shakespeare has never had as huge an impact on my life as his works are having right now. Between making time to watch the Stratford premieres, trying to fit in what other Shakespeare plays I can, reading the plays (some of them for the first time), and performing as part of Project Shakespeare, the Bard has completely transformed my quarantine.

Have you watched any of these or turned to Shakespeare in quarantine? What are your favourite plays or productions? Let me know in the comments and stay safe!

January/February Wrap-Up

We’re 2 months into 2020 and honestly? I’m not off to a great start. I’ve read 10 books so far (3 of them re-reads), which puts me on track for my Goodreads Challenge goal of 60, but I don’t have a new 5-star read to show for it. February hasn’t been a great month for me personally and I’ve been struggling with both Seasonal Affective Disorder and stress over my job situation (my temp. FT position is coming to an end in less than a month and I don’t know what’s next for me) so I only made it through 4 books this month – 2 of them novellas. Hopefully March will be a more successful reading and blogging month for me!

JANUARY
The Raven Boys (re-read) by Maggie Stiefvater 
The Catalogue of Shipwrecked Books by Edward Wilson-Lee  + Review
The Dream Thieves (re-read) by Maggie Stiefvater 
Blue Lily, Lily Blue (re-read) by Maggie Stiefvater 
A Memory Called Empire by Arkady Martine 
Tarnished Are The Stars by Rosiee Thor 

FEBRUARY
To Be Taught, If Fortunate by Becky Chambers 
The Unspoken Name by A.K. Larkwood 
The Regrets by Amy Bonnaffons 
Upright Women Wanted by Sarah Gailey 

Current Reading: I am slowly working my way through Hilary Mantel’s Wolf Hall. I keep getting sidetracked by new release library holds but I am genuinely enjoying it and looking forward to getting back into Wolf Hall in March. I’m just starting Daughter from the Dark by the Dyachenkos (trans. by Julia Hersey). I loved Vita Nostra so I’m hoping this will be another strong release from them. I’m also continuing with my Ace Books Challenge by picking up Belle Révolte by Linsey Miller. Besides those books I’m really desperate to get a few five star books under my belt so I may dive into my backlist of titles I’ve been wanting to read for awhile rather than grabbing the new and shiny.

***Seen on TV***
I don’t have cable or any streaming services except Netflix but I’m slowly trying to catch up on some of the TV that I’ve missed. In the last few months I’ve watched (either on DVDs from the library or on Netflix):

• Chernobyl (HBO) – Difficult to watch at times but eye-opening, especially since it occurred the year I was born so I didn’t know that much about the events or the government response. Skip episode four entirely if you’re triggered by seeing multiple dogs die.
• Good Omens (Amazon/BBC) – I read the book years ago and really liked it so I’d been waiting to get my hands on this. First of all, David Tennant and Michael Sheen are perfect as Aziraphale and Crowley and I loved watching their relationship develop on screen. Generally I thought the pacing and depiction were very good. My one complaint is that when Tennant and Sheen weren’t on screen I found myself losing interest, but this is a gorgeous tribute to Pratchett’s work and is so enjoyable!
• Star Trek Discovery (CBS All Access) – The plot is a little bonkers at times and can be hard to follow, but I just love these characters so much that I don’t even care! Pike was a tremendous addition to the show, Ethan Peck was great as Spock, and I continued to enjoy the relationships between characters: Tilly and Michael’s friendship! Saru and Michael’s respect for and trust in one another! Stamets getting his husband back! I’m curious to see where it will go next, but honestly I’m most interested in the characters so it hardly even matters.
• The Untamed (Netflix) – In case you missed it, I’ve wholeheartedly fallen into The Untamed and I’m never climbing out! The Untamed/CQL is a Chinese-subtitled fantasy series set in ancient China about different sects who seek immortality through dispelling demons and monsters using magic and swords. It’s part political machinations, part murder-mystery, but mostly it’s a love story between the rule-abiding stoic Lan Wangji (aka. Lan Zhan) and carefree mischievous Wei Wuxian (aka. Wei Ying) that transcends decades, family obstacles, and even death! Although based on a gay Chinese novel, censorship prevents it from openly being depicted as a love story but somehow the show is even gayer as a result? There’s lots of yearning, touching, long-held gazes, and yes they even have their own in-show ship song (sung by the actors portraying the roles). The special effects are awful, but the acting, costumes, and set design are terrific. I’ve actually cried watching this show, which is rare for me, and I’m so hooked that I think I’m on my fifth or sixth re-watch. Let me know if you want to gush about The Untamed with me!

***Seen on Stage***

In contrast to my reading, I saw a lot on stage! The odds that I’ll write full reviews are not good, so here are some short reviews on the Toronto theatre scene this month:

Mother’s Daughter and Jesus Hopped the ‘A’ Train (Soulpepper)
My day off happens to fall on a Wednesday so I made it a two-show day by taking in a matinee performance of Mother’s Daughter and spending the evening at Jesus Hopped the ‘A’ Train at Soulpepper.

Mother’s Daughter is the final part in playwright Kate Hennig’s Queenmaker trilogy, exploring Tudor Queens through a contemporary feminist lens. While I still think the first of these plays (The Last Wife, about Catherine Parr) is my favourite, I loved this story of the much maligned “Bloody Mary” Tudor as she comes into her power. It’s very much a play about perception and legacy, deftly exploring how women (and particularly women with power) are viewed and remembered by those around them. Why is Mary villainized while her father, who executed indiscriminately, is remembered more fondly by history? At the heart of Mother’s Daughter are the relationships between women. Mary (played as a sympathetic anti-hero by Shannon Taylor) has a fraught relationship with the apparition of her dead mother Catherine of Aragon/Catalina (Irene Poole in a commanding performance), who urges her to be merciless and eliminate rivals while she has both a sisterly love and a healthy distrust of half-sister Bess (charismatic Jessica B. Hill), a more able political player, and finds commonality with the pious, doomed Lady Jane Grey (Andrea Rankin). I sympathized with Mary as she at first attempts to placate her enemies and grant them clemency, only to make choices that arguably lead to ruin when she’s pushed to act decisively. Told in accessible colloquial language (in the wake of Brexit, a line about how the ‘English do not like Europeans’ referencing Mary’s unpopular marriage proposal from Spain drew laughter), Mother’s Daughter is a timely and perceptive exploration of women in power.

Set almost entirely in the notorious Rikers Island prison, playwright Stephen Adly Guirgis’ Jesus Hopped the ‘A’ Train explores themes of contrition and hypocrisy. Minimal set design emphasizes the bleak environment faced by incarcerated men and highlights the sliver of sunlight they observe in their daily allotment of yard time. Although this production is anchored by strong performances from Xavier Lopez as Angel Cruz, on trial for attempted murder, Diana Donnelly as his put-upon, proud defense attorney, and the reliably excellent Daren A. Herbert as charismatic fellow inmate Lucius Jenkins, I couldn’t fully connect with the story. I suspect the play is meant to cause audiences to reflect on morality. I’m all for moral ambiguity and it’s a theme I usually love to see explored, but I found the weighing of an unintentional killing of one man, essentially a cult leader who has objectively done bad deeds, against eight lives of “normal” people taken intentionally to be too cut and dried for me to take seriously.

Singin’ in the Rain – Film with Orchestra at the Toronto Symphony Orchestra
I’ve been to a couple film with orchestra presentations in the city now with mixed results, so I was a little skeptical about how well this would work but figured that either way it was a chance to see one of my favourite films on the big screen. Singin’ in the Rain with the TSO was such a delight though! After the first few minutes (in which the live orchestra drowned out the movie musical), the sound was adjusted and I had a lovely time. Admittedly I’m not a film buff and I don’t tend to see a lot of movies while they’re still in theatres, so I’d forgotten the sheer joy of watching and reacting to a film with other people and how fresh that can make the experience even of watching a film you can practically quote from memory. An all-time great made even better with a live orchestra.

Secret Life of a Mother (Crow’s Theatre)
I went into this one-women show completely blind, having booked tickets entirely because I loved both playwright Hannah Moscovitch and Maev Beatty, the actress starring in it. As it turns out, it’s a raw exploration of pregnancy and motherhood that’s by turns laugh-out-loud funny and incredibly poignant. Both the friend I went to see this with and I do not intend to ever have children, yet it had both of us tearing up so I can only imagine the impact this beautiful show would have on a mother or mother-to-be! One of many highlights was Maev sharing that during childbirth, starred at by impatient doctors, she felt such pressure to perform that she pushed so hard she gave herself a black eye! I absolutely loved this and would recommend it to most (although it does deal with difficult issues, including miscarriages, so not for women who have recently been through a miscarriage or infertility).

Caroline, or Change (Musical Stage Company and Obsidian Theatre)
If you’ve never been to Toronto, The Winter Garden Theatre is one of the most gorgeous theatre venues I’ve ever seen. It’s one part of the last surviving double-decker theatre in North America and the ceiling is adorned with lanterns and real beech branches and leaves to give the appearance of an Edwardian garden. These days it’s mostly used as a venue for TIFF so I was thrilled when the Musical Stage Company announced their residency in the Winter Garden Theatre. As I’ve come to expect from Musical Stage Company, this production is top-notch. The cast is terrific, with standout performance from R&B star Jully Black in her first musical theatre role as Black maid Caroline, and Vanessa Sears as daughter Emmie and the simple multi-level effectively conveys the reality of 1963 Louisiana. Unfortunately the problem with Caroline, or Change is the source material. The music is beautifully sung in this production but there’s not a memorable song among them, the book is clunky, and there’s an over-reliance on the double-meaning of change (Caroline is told that she can keep any change found in her employer’s clothes while she does the laundry and the musical is set against the backdrop of the 1960s Civil Rights Movement and the assassination of President Kennedy. I’m also a little baffled by the choice to have all of the inanimate objects (the laundry machine, the radio, the moon, etc.) personified as human beings yet nothing’s ever done with this concept and Caroline doesn’t interact with them? Anyway, great cast, great production, but not a musical that I enjoy. I cannot freaking wait for next year and the Musical Stage Company production of Natasha Pierre and the Great Comet of 1812 though!!

Favourite Theatre of 2019

Just as I like to look back on my favourite books of the year, I love reminiscing about my favourite theatre productions seen over the last twelve months. These sorts of lists are always subjective and something that speaks to me may not have spoken to someone else. It’s also important to point out that while I see more theatre and ballet than probably the average person in the city, I am by no means an expert or able to take in all the wonderful shows that Toronto has to offer.

Honourable Mentions

First of all, honourable mention to the Canadian cast of the extremely short-lived Toronto production of “Dear Evan Hansen”, especially Robert Markus who played the titular role in a flawless performance. The set design, particularly the way it incorporated technology and social media, was clever, the music catchy, and the Canadian cast were all outstanding in their roles, but ultimately even this excellent production of the musical couldn’t overcome the standing issues I have with the book of “Dear Evan Hansen’/its themes. There’s just an ick factor I can’t get over and honestly I felt mental health issues were better handled in another show further up this list.

Honourable mention also to “Come From Away”. I hadn’t seen the show since its pre-Broadway try-out in the city and opted to revisit partly because there were rush tickets available but I’m tremendously glad that I did. The sit-down Toronto production is in fine shape, receiving a rousing response from the audience (particularly the East Coasters attending the performance I saw – if there’s a chance to see this show with East Coasters jump on it!) In dark times, this laugh-out-loud funny musical about kindness and giving one another a helping hand is a soothing balm. I’d forgotten how much heart there is in this show and I’d definitely recommend going to see it, whether you’re in Toronto, New York, London, Shanghai, or Australia (the cities where it’s currently playing, or will be playing the next year)!

The List

11. “August Osage County” (Soulpepper)

I’ll admit to mostly going to see this one because Toronto actress Maev Beatty has reached ‘I’ll see anything with her in it’ status. I’m so glad I did though because Beatty wasn’t the only cast member to shine in this domestic tragicomedy. the play tackles weighty themes of addiction and the deteriorating state of the American nuclear family through its story of the dysfunctional Weston family reuniting after their father goes missing. As the self-medicating, dying matriarch Violet, Nancy Palk was compelling even as she hissed venom at her daughters and anyone else within earshot, while the aforementioned Maev Beatty was more than a match for her as headstrong daughter Barbara, whose marriage is failing. Although her lines were few, it was the subtle performance of Samantha Brown as the family’s Cheyenne live-in housekeeper Johnna, who functions also as a largely silent witness to the family hysterics, that really stayed with me. “August Osage County” is a long play, clocking in at over three hours, but it never felt long thanks to the mounting tension, cathartic reveal of devastating family secrets (sometimes to gasps from the audience) and a tremendous cast.
Watch the trailer

10. “Piano Concerto”/”Petite Mort”/”Études” (The National Ballet of Canada)

Too often the problem with a National Ballet of Canada mixed program is its unevenness. I’ve been to many programs over the years where I’ve adored one short work and been left cold by another, so the pairing of Alexei Ratmansky’s “Piano Concerto”, Jiří Kylián’s “Petite Mort”, and Harald Lander’s “Études” was an inspired choice, resulting in one of the company’s best mixed programs in years.

“Piano Concerto” had its company premiere in 2015 and was an enjoyable work to revisit, although I certainly missed the presence of contemporary dancer Dylan Tedaldi, who I had seen in the role last time. The abstract choreography and use of design elements like hammers, stars, and bolts from soviet ideology effectively evoked composer Shostakovich’s struggle to reconcile his desire for artistic freedom with the demands of the state.

An ode to classical ballet, and to the ballet class in particular, “Études” progresses from work at the barre to pirouettes to more challenging moves like grand jetés. I’m pretty sure the casting process for one of the leading male roles in this ballet went something like this:

Person in charge of casting Études: So basically what we’re looking for is someone who can spend the entire ballet jumping and make it look effortless.

Naoya Ebe: *exists*

National Ballet Casting: Perfect!

Principal dancer Heather Ogden was a highlight as the female lead in “Études”, but actual ballet prince Harrison James and his classical equal Naoya Ebe, who spend most of the ballet spinning and jumping, respectively, were also superb. The progression from simplistic choreography of the warm-up to the showy finale was a joy to watch in this classical gem.

The highlight of the program though was “Petite Mort”, a clever, sensual, and strange exploration of sex that played with the innuendo of its title (Petite Mort or “Little Death”, referring to orgasm). Featuring six male and female dancers, who sparred with each other using both their bodies and fencing foils, “Petite Mort” was a treat to watch. Inventive and witty, I was transported (and not just from the opportunity to see one of my favourite dancers in the company with a sword).
Watch the trailer

9. “Prince Hamlet” (CanStage & Why Not Theatre)

I’ve seen more productions of “Hamlet” in the last few years than a person who isn’t particularly fond of the play should, and while the excellent Public Theatre production which featured Oscar Isaac eating lasagna and one of the funniest pre-show announcements ever (asking the audience to please not try to plug their devices in to charge using the wall plugs on the set) has a special place in my heart, “Prince Hamlet” is undeniably the most innovative production of the play I’ve ever seen. Directed by Ravi Jain, “Hamlet” is remixed in this bilingual retelling that effectively integrates English and American Sign Language. “Prince Hamlet’ also breaks through restrictions on race and gender in its casting, giving us a female Horatio and Hamlet and a male Ophelia. While genderswapping some Shakespeare roles, such as Lear, can add new dimension and meaning to the play, I didn’t find that the gender swapped casting altered much of anything about “Hamlet”, it simply allowed actors who might not otherwise be cast in a role, to stretch their wings. Deaf actress Dawn Jani Birley did double duty, acting as both ASL narrator and as Horatio. Her dynamic presence and sharply punctuated, expressive signing were the perfect foil for the sullen Danish Prince (played here by Christine Horne). Scenes between the two of them sparkled, and I loved how they used ASL to communicate plans secretly so Claudius and Gertrude were unaware. As Ophelia, Jeff Ho gave a memorable performance, particularly in his mad scene, and Birley’s ASL retelling of Ophelia’s death had a hauntingly effective quality. The second act faltered a little and the dual didn’t totally work for either me or the friend I attended with, but “Prince Hamlet” is a remarkable achievement and a glowing example of how accessible theatre can be when it’s approached with the audience in mind and not as an afterthought.
Watch the trailer

8. “Rose” (Soulpepper)

Soulpepper’s first original musical boldly defied categorization in a memorable theatrical experience that was by turns heartwarming, funny, thoughtful, and empowering. Based on avant-garde poet Gertrude Stein’s collection “The World is Round”, it tells the story of inquisitive nine-year-old Rose who is faced with an unusual problem. Unsure of who she is or of her place in the world, Rose isn’t able to say her name. Her journey of self-discovery leads her into some unusual company, including a pride of lions and a terrifying group of giant otters? Star Hailey Gillis grounded a colourful and sometimes downright odd production with her endearing portrayal of the precocious Rose and Peter Fernandes brought a boyish charm and earnestness to his role as Willy, Rose’s best friend. Lorenzo Savoini’s design was simple yet effective, using a colour palate that reflected the iconic blue ink on pink page illustrations used in the original book. After the high energy first act, I found the second act dragged in the middle and could use some trimming off the long (2.5 hour) runtime for a musical ostensibly aimed at children, but “Rose” was an immensely charming show and a highlight of my theatregoing this year, particularly the climactic point in Rose’s journey of self-discovery, which had me inwardly cheering and outwardly tearing up for joy.
Listen to the cast recording on Spotify
Read my full review.

7. “Next to Normal” (David Mirvish presents Musical Stage Company)

The Musical Stage Company has quickly become one of my favourite theatre companies in the city and this production continued to illustrate why exactly that is. Deftly handling themes of mental illness, addiction, and grief, “Next to Normal” is a rock musical about a suburban mother’s struggle with worsening bipolar disorder and the impact that has on her family. Any discussion about this production of the show has to begin by talking about the force to be reckoned with that is Ma-Anne Dionisio! Her performance as Diana was undoubtedly one of the year’s best. My jaw quite literally dropped watching her and I keenly felt Diana’s anguish and anger about her condition in this tour-de-force performance. The Toronto cast was refreshingly diverse, with Diana and her children all played by Asian-Canadian actors, and the role of Doctor Madden, usually played by a man, by the inimitable Louise Pitre. Stephanie Sy was another highlight, as underappreciated daughter Natalie. The set design seemed bland and uninspired for a show of this caliber though and I found the actors playing Dan (Troy Adams) and Gabe (Brandon Antonio) didn’t have the strongest voices and failed to live up to the energy or emotion brought to the musical by the other performers. Seeing this so closely on the heels of “Dear Evan Hansen”, I found the message in “Next to Normal” healthier and more relatable personally, and I was more moved by this production than by Evan’s duplicitous actions.
Watch the trailer

6. Modern Broadway (Toronto Symphony Orchestra)

The TSO’s Modern Broadway concert was not only an entertaining, well-sung evening of recent(ish) Broadway hits, it also crossed an item off of my bucket list:

✔ See Jeremy Jordan perform live

Broadway is my favourite genre of music (I mostly listen to cast recordings) and Jeremy Jordan is my favourite vocalist. Seeing him live has been a dream of mine for years and although it wasn’t in a musical showcasing his acting chops, on stage in my hometown being impossibly charming and belting out his signature Santa Fe? Pretty much a dream come true. Jordan’s tenor is to die for and he was self-deprecating and charismatic as he introduced songs with anecdotes about his career. His take on Waitress’ “She Used to be Mine” brought the house down. Why then, you might be asking, wasn’t this my favourite theatre experience of the season? Well, although the Toronto Symphony Orchestra played beautifully of course, the problem with a pops concert like this is that it has to be as much about the orchestra as the guest vocalists. This resulted in some dubious song choices that stretched the definition of Modern Broadway. Unfortunately I also wasn’t so taken with Jordan’s co-star, Betsy Wolfe. Jeremy Jordan is a hard act to follow and though Wolfe gamely tried, she wasn’t able to live up to the high standard set by her fellow performer.

5. “The Merry Widow” (The National Ballet of Canada)

A glittering delight, “The Merry Widow” was so incredibly charming that I seriously considered playing hooky from work so I could see it again with a second cast! Combining romance, whimsy, comedy, and the aesthetic splendor of Belle Époque Paris, the ballet told the story of a fictional Balkan principality on the brink of ruin unless the aristocratic Count Davilo (danced by Guillaume Cote) can woo rich widow Hanna Glawari (Xiao Nan Yu) before she is swept off her feet by a foreigner. Naturally, complications and miscommunications ensue. For all that I loved it, “The Merry Widow” was a bittersweet affair because it marked one of the final performances of principal dancer Xiao Nan Yu before she retired from the stage. I’ve been a fan of Nan’s for awhile and as thrilled as I was that I got to witness one of her final performances, I miss her presence on stage so very much this season and I haven’t quite accepted that I’ll never see her thoughtful Tatiana (in “Onegin”) or powerfully composed Paulina (in “The Winter’s Tale”) again. Guillaume Côté was the best I’ve ever seen him, displaying a talent for comedy as the drunken count, then partnering Nan beautifully in their romantic scenes later in the ballet. Jillian Vanstone was also winning as the young Valencienne and the set design and costumes deserve a mention for their sheer splendor. I really hope The National Ballet of Canada remounts this one sooner, rather than later.
Watch the trailer

4. “Ghost Quartet” (Eclipse Theatre Company/Crow’s Theatre)
Offbeat, non-linear, and just plain odd, Dave Malloy’s song cycle “Ghost Quartet” was an absolute delight from start to finish. I’m predisposed towards Malloy’s brand of weird, being a huge fan of “Natasha Pierre & The Great Comet of 1812”, so his musical style obviously works for me. The structure of the show is cyclical, twisting, and plays with magical realism in a story that spans generations of characters, including a spurned sister bent on revenge, an astronomer, and even a bear. “Ghost Quartet” artfully balances the haunting intensity of the storytelling songs with the ease of four friends fueled by whisky telling ghost stories around a campfire. Lines like “I will transcend and vomit this loser out of me” are poetic and powerful, yet humourous, representing Malloy’s style, but it’s the catchy foot stomping “Any Kind of Dead Person”, in which Hailey Gillis tells us why she’d rather be a ghost than a zombie, mummy, or other supernatural creature, that was the show’s standout number. The Canadian cast of four (Beau Dixon, Hailey Gillis, Kira Guloien, and Andrew Penner) were all outstanding, having an easy chemistry with one another that got stronger as the run went on, voices that melded well in song, and the ability to play instruments as well as sing.  Set, Costume, and Lighting Designer Patrick Lavender created a warm and yet otherworldly space where anything felt possible, costumes that felt old and modern all at once, and dreamy lighting that transported us to another time. It was the perfect show to get me in the Halloween spirit. We went twice, and I was very tempted to go a third time. It was just that addictive!
Watch the trailer

3. “School Girls; Or The African Mean Girls Play“ (Obsidian in association with Nightwood Theatre)

Dealing with issues of shadeism, racism, and classism in a nuanced way, “School Girls; Or The African Mean Girls Play” was such a joy! Playwright Jocelyn Bioh’s script about adolescent girls at a Ghanian boarding school in the 1980s is often laugh out loud funny and yet so beautifully poignant. Paulina (Natasha Mumba) has been Queen Bee of the school’s clique for years, but when new student Ericka (Melissa Eve Langdon), the daughter of a mixed-race couple, arrives from Ohio, Paulina’s control and social standing is threatened, particularly when a recruiter arrives to select one school girl to compete in the Miss Ghana beauty pageant with a shot of impressing on the world stage to become Miss Global Universe. Although the script is terrific, replete with 80s references and bitingly accurate in its depiction of adolescent nastiness between girls, it was the cast that made the Toronto production the success that it was. I can’t even choose one or two standout performances because the standard was so high across the board! Hilarious and heartbreaking, this was one of the year’s best.

2. “The Brothers Size“ (Soulpepper)

Can I just RAVE forever about how fabulous and moving and important “The Brothers Size” is? The Canadian debut of Moonlight writer Tarell Alvin McCraney (who co-wrote Moonlight based on his play “In Moonlight Black Boys Look Blue“)’s play was the highlight of a strong season for Soulpepper. Part of McCraney’s Brother/Sister plays triptych, which incorporate Yoruba mythology into a contemporary setting that examines the issues faced by African-American men in the present, “The Brothers Size” is a huge achievement. The relationships between the three Black men, older brother Ogun, younger brother Oshoosi (who has just been released from prison), and Oshoosi’s cellmate and sometimes lover Elegba, were rendered artfully by actors Daren A. Herbert, Mazin Elsadig, and Marcel Stewart, respectively. The portrayals and the relationships between the characters in this intimate piece are even more impressive considering we learned at the talkback session following the play that Mazin Elsadig had replaced another actor in the role just two weeks before opening night! The performances delivered by all three actors were layered and thoughtful, charming and heartbreaking. Intimate, sensual, heartwrenching, and powerful in its examination of brotherhood, freedom, and responsibility, “The Brothers Size” was one of the best shows I saw all year and I desperately hope that one day soon Soulpepper will produce the other two plays in this triptych.
Watch the trailer

1. “Kiss of the Spiderwoman” (Eclipse Theatre Company)

Sold out before its limited run even began, Eclipse Theatre Company’s staged concert of “Kiss of the Spiderwoman” was the best thing I saw all year. Although the musical has a long history (and one that heavily involves Toronto) this was the first time I’d ever heard the score or seen a production of it. I bought tickets partly for the cast, all of whom I’d seen and liked in previous Toronto theatre productions, but mostly because it was being staged in the historic Don Jail (active as a prison from 1864 until 1977). The evening began with a tour of the jail, infinitely spookier at night than during the day, before we took our (extremely uncomfortable metal bar stool) seats for the performance. As one reviewer called it, “the perfect marriage of venue and subject matter”, “Kiss of the Spiderwoman” is set in an Argentinian prison during the country’s Dirty War. In order to escape from the dark reality of their days, gay window dresser Molina (Kawa Ada) spins colourful tales of the glamourous actress Aurora (Tracy Michailidis) to his cellmate, political prisoner Valentin (Jonathan Winsby), with whom he is falling in love. A grudging respect and tender camaraderie develop between the two men as they grapple with politics, masculinity, and the power of love over death. The Don Jail was the perfect venue for this musical, providing an atmospheric setting and acoustics that allowed the cast’s vocals to wash over the audience in a wave of glorious sound and emotion. The entire cast was phenomenal, starting with Kawa Ada, who was heartbreaking and honestly so perfect that it’s difficult to imagine another actor in the part of Molina. Tracy Michailidis was powerful and brought glamour and colour to her sensual performance as film star Aurora, and Jonathan Winsby’s vocals BLEW ME AWAY, especially his haunting performance of “The Day After That.” Even though this was by far the most uncomfortable theatre seating experience of my life, I would have gone back every night if it hadn’t been sold out. I’m devastated that there isn’t a cast recording or professionally shot video to capture this perfection but am so thrilled that I was able to witness it.

So there you go, my favourite things that I saw all year. What were your favourite plays, musicals, ballets, or operas of the year? Leave a comment and let me know!

 

 

Best of Stage 2018

Instead of delving into my most disappointing reads, I’d like to start the new year on a positive note by looking back fondly at my favourite theatre productions of 2018.

I desperately wanted to post a Best of Stage list in 2017, but time got away from me and I never did get around to writing one – something I regret to this day. Although my 2018 year of theatre (much like my year in books) didn’t live up to high standards set by 2017, Toronto and London stages still offered plenty to love.

10. The Dream / Being and Nothingness (National Ballet of Canada)

No one is more surprised than me that my favourite National Ballet of Canada pieces this year were not multi-act story ballets, but double and triple bills showcasing shorter works! I often find Principal Dancer Guillaume Côté’s choreography to be inconsistent, but he’s at his best with Being and Nothingness. It was an absolute pleasure to revisit the ballet three years after its Toronto debut. Based on the philosophical work by Jean-Paul Sarte, Being and Nothingness is an inventive and melancholy contemporary piece that featured strong performances by Principal Dancer Greta Hodgkinson and Second Soloist Felix Paquet (who’s had a breakout year) on opening night. New to me was Frederick Ashton’s The Dream, a one-act re-imagining of Shakespeare’s A Midsummer Night’s Dream set in Victorian times. Combining enchantment with humour, The Dream benefited from dream (yes, I made that joke) casting. Actual Ballet Disney Prince Harrison James was a noble Oberon and the perfect partner for Jillian Vanstone‘s regal Titania. It was Skylar Campbell, perfectly cast as the mischevious Puck, who stole the show though, seeming to soar across the stage. Hopefully it won’t be another 17 years before The Dream returns to the Toronto stage!
Watch trailers for The Dream and Being and Nothingness.

9. Bed & Breakfast (Soulpepper – Toronto)

Written by Canadian playwright Mark Crawford, Bed & Breakfast is a delightful farce about a downtown-dwelling gay couple who decide to leave the big city and open a bed & breakfast in a small Ontario town. Certainly there’s comedy to be found in the classic fish-out-of-water trope, which sees Brett and Drew adapting to life in a slower-paced locale, but Bed & Breakfast is also an emotionally resonant piece that doesn’t shy away from depicting small-town homophobia and long-held family secrets. What made the Soulpepper production this summer work so well though were the performances. Real life couple Gregory Prest and Paolo Santalucia played not only the central B&B-owning couple – they also portrayed every single one of the play’s other 20 characters! Both actors are well-known to Toronto audiences for their range, and Prest in particular has become an actor I would go see in just about anything (read my gushing review of last year’s brilliant adaptation of Of Human Bondage for more on Prest), so Bed & Breakfast served as the perfect showcase for their considerable talents. Through the addition and subtraction of simple props like an earring or a trucker cap, the actors stepped into the roles of the quirky townsfolk, including a flaky, pregnant coffee shop owner, an Irish lesbian, and an awkward adolescent boy in this heartwarming must-see Canadian comedy.

8. Les Miserables (Queens’ Theatre – London)

Les Misérables is my all-time favourite musical, but the fact that it merits a place on this list is undoubtedly influenced by two things. One: I didn’t see a lot of shows this year that blew me away, and Two: The last production of Les Misérables I watched (the US tour cast in 2017) featured some of the worst across-the-board principal casting I’ve witnessed for this musical. The 2017/18 West End cast were not the best I’ve seen in their respective roles, but this was nonetheless a very solid cast.  Killian Donnelly was a standout in the role of Valjean, showcasing both control over and knowledge of how to use his powerful voice. For such a young actor (Donnelly was 33 when I saw him), his aging and death scene were among the most believable I’ve seen and I loved his dynamic with both Cosette and Fantine. Carley Stenson also stood out as one of the best Fantines I’ve ever watched. In the post-Anne Hathaway years there’s been a tendency to sing “I Dreamed A Dream” as a paint-by-numbers, heavily choreographed, ‘here is the big song the audience is waiting for’ kind of moment, but Stenson’s Fantine looked natural throughout and sang with a gorgeous belt that never edged into shouting. After becoming familiar with the Broadway/Tour staging over the last few years, it was also lovely to see the original turntable staging of the London production again. It is a shame that I missed David Thaxton (off sick the week I was there) as Javert though. After a string of awful Javerts, it would have meant a lot to see someone who understands the role take it on, and I have no doubt that Les Miserables would be higher on this list if I’d watched him perform.

7. The Dreamers Ever Leave You / The Four Seasons / Emergence (National Ballet of Canada)

My favourite National Ballet of Canada production of the season was this excellent triple-bill featuring works by Canadian choreographers. Originally co- produced with the Art Gallery of Ontario as an immersive ballet that allowed members of the public to walk around the dancers and take photos, The Dreamers Ever Leave You was inspired by the paintings of Group of Seven artist Lawren Harris. I missed the widly popular Art Gallery of Ontario staging, so I was thrilled to have the chance to see a version of the ballet (modified to fit a traditional stage) this Spring. It did not disappoint. Set to an original score written and performed live by extraordinary pianist Lubomyr Melnyk, this moving ballet succeeded in evoking the beauty and loneliness of Canada’s northern landscapes.

To say I’m not a fan of James Kudelka’s choreography would be putting it mildly. I hated The Man in Black (a short ballet set to music by Johnny Cash and danced wearing cowboy boots), and I was underwhelmed by his versions of both The Nutcracker and Swan Lake. But with The Four Seasons I found a Kudelka ballet I actually liked watching! Set to Vivaldi’s famous work of the same name, it depicts the life cycle of a man through the lively spring of his youth, sultry summer, lazy fall, and his decline and infirmity come winter. The choreography was still very classical for my tastes, particularly for a piece that debuted in 1997, and the costumes left something to be desired, but The Four Seasons was an enjoyable short ballet and an excellent showcase for Guillaume Côté.

An unsettling work that posits “the instinct for social organization found in the insect realm as a precise metaphor for human interaction and purpose”, Crystal Pite’s Emergence is one of the most unique ballets I’ve ever encountered. Opening with an eerily realistic approximation of an insect and set to a drone soundscape and a monotonous chorus of whispered counting, Pite uses ballet dancers to reproduce swarm behaviour seen in the insect world in this deservedly acclaimed ballet. Watch footage of Emergence.

6. The Music Man (Stratford Shakespeare Festival)

With revivals of classic musicals like The King and I, My Fair Lady, and, most controversially, Carousel recently appearing on Broadway stages, there have been questions over whether some musicals are timeless classics or dated relics that have nothing to say to modern audiences. I can’t say that I have any particular attachment to The Music Man as a show, but Director/Choreographer Donna Feore did just about everything right in this thoroughly enjoyable revival. Her choreography breathed new life into a dated story by adding crowd-pleasing, high-energy dance numbers performed by a talented ensemble. Yet it was the inspired casting that made this production so memorable. The Music Man is based on the idea that one con-man is so damn charming that he manages to swindle an entire town, yet in the end no one really minds that much. Who better for the role of Professor Harold Hill than the vortex of charming that is Daren A. Herbert!? In his Stratford debut, Herbert was charismatic, playful, and had excellent chemistry with both Marian the Librarian (a likable Danielle Wade) and close friend Marcellus Washburn (Mark Uhre, a true triple threat). There are some elements in The Music Man that don’t translate as well to present day sensibilities (Harold Hill’s admonishment of fast women, for example) and, as a librarian, I’d be creeped out if a guy I had rejected wound up stalking me at my place of work, but minor quibbles aside this was a tremendous amount of fun.

5. Jane Eyre (Northern Ballet – London)

My favourite ballet of the year was Jane Eyre, performed by Northern Ballet, an English touring company based in Leeds known for their storytelling. Part of the reason I chose to visit the UK when I did was so that I could catch their London engagement and I was not disappointed. Cathy Marston’s striking choreography uses classical ballet language but with a contemporary edge. She made adapting Jane’s internal narrative into a medium that doesn’t use speech look effortless. Antoinette Brooks-Daw (as Young Jane) and now-retired ballerina Dreda Blow (as Jane) were both gorgeous to watch, subtly conveying Jane’s strength of spirit and independence even as she undergoes hardship. Yet from the moment he appeared on stage, sprawling insolently into a chair and preventing Jane from leaving the room with an elegantly outstretched leg, I was captivated by Javier Torres’ Mr. Rochester. He was quite simply magnetic. and there was an immediate chemistry between his Rochester and Blow’s Jane that only intensified through a series of passionate pas-de-deuxs. It’s easy to understand why Dance Europe referred to Northern Ballet as boasting “the best dance-actors in the world”. I’m thrilled that I had the opportunity to witness such a talented company performing a largely faithful and clever adaptation of the early feminist source material we hold so dear.
Read my full review of Jane Eyre.

The acclaimed American Ballet Theatre (ABT) are performing Cathy Marston’s Jane Eyre this summer at the Metropolitan Opera House, so if you’re in New York City this June I highly recommend checking it out!
Watch the trailer for Northern Ballet’s Jane Eyre here.

4. The Cursed Child (Palace Theatre – London)

The Cursed Child is the only entry on this list that succeeds not because of its script, but in spite of it. As many Harry Potter fans found when the script was published in 2016, the plot is a convoluted mess that reads more like bad fan-fiction than a carefully constructed work of literature. The character of Delphie is so thinly written that even the most talented actress wouldn’t be able to imbue her with any depth, and the heterosexual romance foisted upon us despite a lack of chemistry and at the expense of developing the far more interesting gay subtext is, unfortunately, exactly what we’ve come to expect from Rowling. The script has its moments, using humour to great effect (in particular I’ll never be able to walk past a farmer’s market again without smiling), but it’s the theatrical wizardry (pardon the pun) and the performances that have made The Cursed Child work as well as it does. Without giving too much away, The Cursed Child made me believe in magic, or at least in the ingenuity and imagination of an exceptionally talented creative team. More than once I found myself wondering how’d they do that?! There’s such a feeling of nostalgia attached to Harry Potter for many of my generation and this play was able to recapture the magic of reading about the wizarding world for the first time in an immersive theatrical way. I caught the second year cast of the London production and genuinely enjoyed everyone’s performances. The original trio were all believable, particularly Thomas Aldridge as an endearing Ron, but I was actually most interested in the Malfoys. Scorpius (Samuel Blenkin) became my favourite character by the end of the show and the standout of the evening was James Howard as a pitch-perfect Draco. Ultimately The Cursed Child is a play about parent-children relationships with all of their complexities, friendship, and how you thought your life would go vs. how your life actually is. As a millennial, this is definitely a theme that speaks to me and I loved The Cursed Child in spite of its plot holes.

3. Fun Home (Musical Stage Company/Mirvish Productions – Toronto)

I’m surprised it took this long for Tony-award-winning musical Fun Home to make it’s Toronto debut, but it was worth the wait! For the last few years The Musical Stage Company has been behind some of the best musical productions in the city (including Onegin and Life After, two of my theatre favs from 2017), so I couldn’t wait to see what they’d do with the funny and heartwarming story based on Alison Bechtel’s graphic memoir about growing up in a funeral home and the discovery that both her and her father were gay. Fun Home in Toronto was professional, well-designed and well-directed,  but the starry all-Canadian cast were the number one reason to see this production. All three Alisons (played as a girl by Hannah Levinson, as a sexually awakening college student by Sara Farb, and as an adult by Laura Condlin) were superb and stand to clean-up at any Toronto theatre award shows. Reliably excellent Evan Builing, Cynthia Dale, and Sabryn Rock rounded out the cast of this terrific show.
See Sara Farb perform “Changing my Major” (featuring the Toronto Reference Library!)
Watch the trailer for Fun Home in Toronto here.

2. The Wolves (Howland Company/Crow’s Theatre – Toronto)

I don’t have a single negative thing to say about the Toronto debut of Sarah DeLappe’s Pulitzer-Prize nominated The Wolves. I went in nothing absolutely nothing except that it had been well-reviewed and was blown away by Courtney Ch’ng Lancaster’s thoughtful direction, a talented young cast made up of women and non-binary individuals, and the clever dialogue that so perfectly captures the cadence and thought processes of teenage girls. The staging of this play about an indoor girls’ soccer team at a transitional time in their lives was kinetic, following the team as they stretched, warmed-up, and played, all while discussing everything from talking behind one another’s backs to periods and the Cambodian genocide. Characters were identified by their jersey numbers rather than their names, yet each player had a distinct personality and their unique place within the group. The Wolves was also one of the best-paced shows I’ve ever seen, with a 90-minute no intermission run-time that ensured the play didn’t overstay its welcome, yet gave enough time and weight to its characters to develop them fully and leave a lasting impact. Humourous, heart-warming, and featuring one of the best ensemble casts I’ve sen recently, The Wolves was undoubtedly a highlight of the Toronto theatre scene this year.

1. The Ferryman (Gielgud Theatre – London)

On my final night in London I caught the closing performance of The Ferryman and all I can say is WOW. What a way to end a trip! Set almost entirely within the Carney farmhouse in Northern Ireland during the 1980s, The Ferryman is about a family haunted by the unexplained disappearance of one of its members (the brother/husband/father of those left behind). Predicated on the idea of physical and psychological ‘ambiguous loss’ – which occurs when a loved one disappears and their whereabouts are unknown – The Ferryman is a weighty play about family conflict, loss, and the toll of existing in an in-between state without closure. I loved the references to myths and folklore, the crowd-pleasing presence of live animals and a (very young and very well-behaved!) baby that made the play feel so real, and the emotionally charged performances given by the entire cast, especially Rosalie Craig as the maybe widow-maybe wife Caitlin Carney. As someone fascinated by Irish history, I adored everything about this. The Ferryman is currently playing on Broadway and I can’t recommend it highly enough. Go see this magnificent play while you can – oh, and stagger your water intake because it’s a long play with one short intermission!

Have you seen any of these ballets, musicals, or plays? What were the best things you saw on stage in 2018? Let me know in the comments!

Stage: Lear (Groundling Theatre Company)

Canadians pride themselves on being hardy, but already this winter is proving to be a difficult one, dumping large amounts of snow on us along with brutal subzero temperatures. In these kinds of conditions, it’s tempting to take up hibernation, but the Groundling Theatre Company’s female-fronted production of Lear makes it worth your while to leave the comforts of home.

As the second production of this play to feature a woman as Lear that I’ve seen in four months, I can’t help comparing the Groundling Theatre production to last summer’s take on a female Lear at Shakespeare in High Park. Viewing either production is enough to leave audiences ruminating over the greater meaning that can be wrung from the play simply by casting a woman as the lead. Taken together, the Groundling Theatre Company Lear and Canstage King Lear make an eloquent argument for casting a woman in the title role, if not exclusively than certainly more often.

Set in the 16th century, this summer’s CanStage production emphasized female leadership in a male-dominated world, offering fascinating commentary on how women are viewed by others, and how they choose to present themselves to inhabit traditionally male roles. Groundling Theatre’s Lear takes a more intimate approach, focusing on the relationships between mothers and daughters. Of course King Lear is very much a play about filial relationships, but this production places them at the forefront, as a mad Lear repeatedly assumes that Poor Tom’s poverty is because he has daughters. As director Graham Abbey writes in the program notes, viewing the tragedy through a maternal lens makes more poignant Lear’s reaction to perceived ingratitude. Watching a bitter female Lear curse Goneril’s womb to sterility is shocking, while the primal wails of a mother who has lost her beloved daughter in the play’s final scenes are devastating to witness.

The talented cast is composed of screen and stage veterans, including several members of the Stratford Shakespeare Festival company. Led by Seana McKenna, in a commanding performance as Lear, the diverse company excels. Mckenna’s Lear is blunt and precise in her interactions and dialogue. Her Lear is all sharpness and calculation except, as her fool points out, when it comes to her daughters. As her mind slips away, Lear’s edge dulls, revealing her underlying regret and tenderness. It’s a riveting performance to watch, although I’ll admit that I found Diana D’Aquila to be the more affecting Lear, in the Shakespeare in High Park production.

Jim Mezon is a steady and empathetic Gloucester, and Orphan Black‘s Kevin Hanchard is a marvelous Kent, demonstrating loyalty and steadfast devotion. Colin Mochrie, best known for his ongoing role on improv comedy show Whose Line Is It Anyway?, may be the company member with the least Shakespeare experience, but he’s a good fit for the honest and wise fool, delivering his lines with perfect comic timing.

Lear’s elder daughters can often seem one-note, but Diana Donnelly and Deborah Hay are two of the stronger Regan and Gonerils I’ve had the pleasure of seeing. Hay is especially interesting to watch, as she invests her character with a measure of empathy. Her Goneril seems initially to be simply a daughter at her wit’s end with a parent who is increasingly exasperating and verbally abusive, but her resolve strengthens as a play goes on. I liked Mercedes Morris, in a subtler performance, as Cordelia too. Her devotion to Lear is evident in calmly expressed pleas of faithfulness, but Morris could use to project more, as her quiet voice was sometimes lost in the Harbourfront Centre Theatre.

In a memorably villainous turn, the towering Alex McCooeye is an affable Loki-esque figure as Edmund. Undoubtedly the dangerous and destructive black sheep of the family, he’s so damn charismatic you can’t take your eyes off him. His soliloquies feel like he is speaking directly to each member of the audience, and McCooeye admirably walks the line between comedy and drama, drawing laughs from the crowd when earned yet continuing to be a threat.

As his noble brother Edgar, Antoine Yared is likable in a solid performance. However, as more theatres take on Shakespeare’s classic plays with diverse and gender-swapped casting, it’s a bit of a shame to see Edgar repeatedly approached in such a traditional way. In my view of CanStage’s production I remarked on what a shame it was to see Edmund, the villain, queer-coded when Edgar could just as easily have been portrayed as a gay character. After the Groundling Theatre Co. production, my friend remarked on the inadvertent, but unfortunate, commentary made on women rulers, as all of the female characters are dead by the end of the play with only men left on stage as the lights come down. The solution she posited was casting Edgar as a woman too; Edith, if you will. It’s an idea that has a lot of merit, and I’d love to see a production of Lear that gives this a try.

This was my first Groundling Theatre Company show, but I gather clean, simple sets, and costumes that don’t correspond with any particular time or place are hallmarks of this emerging company. The minimalist but effective stage, which is constructed of interlocking monochrome blocks that can be rearranged to give the impression of doors, or a bed works well. There are some really lovely pieces of staging in here too. I loved the scene where Gloucester cannot see a letter proving Edgar’s treachery until he wears spectacles, and where the fool has an opportunity to showcase some tricks. However, I found the costuming, which draws upon everything from a formal waistcoat and cravat to infinity scarves, hoodies, and jeans, to be an oddly lazy choice that doesn’t serve to ground the play in any particular time and fails to create a cohesive vision.

I was more taken with the choice to include a live musician, percussionist Graham Hargrove. The percussion is largely understated, but adds vital tension as needed, and gives thundering voice to Lear’s infamous storm.

With a diverse and talented cast, Groundling Theatre Company’s production of Lear offers a nuanced portrayal of mother-daughter relationships, and commentary on the challenges of being a woman in a position of power. I have some minor complaints, for example I’d prefer that the costumes grounded a show in a particular time and/or place, and while I loved the percussion, it sometimes drowned out the actors in the storm scenes, but on the whole this is a thoughtful, well-acted, Lear that’s worth leaving the warmth of your home to see.

The Groundling Theatre Company production of Lear runs until January 28th at the Harbourfront Centre Theatre.

Photo of Mercedes Morris, Seana McKenna and Colin Mochrie, by Michael Cooper

Stage: Picture This

Based on a 1924 Hungarian play (The Battle of Waterloo by Melchior Lengyel), Soulpepper’s Picture This is an entertaining farce that serves up real laughs. Relying mostly on slapstick and physical comedy, it’s a play that manages to both feel fresh and act as an affectionate throwback to a different era of comedy. It’s not profound. In fact, I probably won’t remember much about this play a year from now, but Picture This is most definitely a fun night out that saves the best for last in a hilarious post-credits scene.

In a 1920s Hungarian hotel lobby, the concierge doesn’t answer the phone, the bell-hop never seems to carry any luggage, and the waitress passes by without taking drink orders. No, it’s not the worst hotel ever, directors, actors, and composers from the local film scene have temporarily taken jobs as staff in hopes of being noticed by major Hollywood director Red (Cliff Saunders), who is staying in the building.

At the heart of the play is Romberg (Jordan Pettle), a down-on-his luck local film producer who hopes to convince Red to make his next silent film at his film studio in Budapest for $5,000 American dollars – a fraction of what it would cost to produce in Hollywood. In on the plan is old flame Milli (Michelle Monteith), an actress posing as a cocktail waitress, who would star in the film.

The twist comes in the form of a misunderstanding. When Red runs into an old friend, Mr. Brown (David Storch), who also immigrated to the United States decades earlier, they immediately catch up. The film industry observers witness the meeting and assume Mr. Brown is a business associate of Red’s. In actuality, he runs a fur shop in Buffalo and is kept on a tight leash by his prudent wife, who has just left town for a few weeks. Left in charge of the exactly $5,000 in life savings he and his wife possess, and free from under his wife’s thumb, Mr. Brown is swayed by Milli’s flattering attentions and goes along with the plan to finance a movie in Budapest – just as long as it’s completed in two weeks (before his wife returns!).

The second act sees Romberg and the rest of the local film scene trying to cobble together an epic film with a limited budget and a short window in which to complete the project. Adding to the dysfunction is temperamental (and somewhat sleazy) lead actor Boleslav, who has been cast as Napoleon.

The set is quite frankly so stunning that it deserves its own paragraph. I mean, I would happily live on this set for the rest of my life! Designer Ken MacDonald outdoes himself, creating a turquoise, art-deco inspired hotel lobby that is elegant, yet playful. Featuring dark wood and a recurring pineapple motif, the set is so evocative that I lamented its loss when the lobby gave way to a film set for Act II.

The humour is generally strong, with a few gags, both verbal and physical, landing particularly well. I guffawed as Romberg pitches his idea for a film about The Battle of Waterloo, Napoleon, and his beloved Josephine. ‘Of course, where would Napoleon be without his noble horse?’ cries a clueless Milli. An accordion-playing gag and a scene where bad actor Hudascek (Gregory Prest) lurks outside a window with his headshot are also laugh out loud funny. While Prest is excellent in a minor role, generating laughs even without speaking, I was less impressed with the actor playing the writer character, who comes off very one-note as he repeats his frustration with the historical inaccuracies in the film.

The standout performances of the night come from Buffalo couple Mrs. and Mr Brown (David Storch and Brigitte Robinson, respectively) though. Storch is pitch perfect as the meek fur salesman. Jumping at the chance afforded by a case of mistaken identity to gain some autonomy over his life by emulating his powerful old friend Red, he is swept away by the grandeur of the plan and the excitement it brings to his mundane Buffalo existence. Brigitte Robinson is an excellent contrast, stealing every scene she’s in with a wry and commanding presence.

On the otherhand, while I enjoyed both Michelle Monteith (as Milli) and Jordan Pettle (as Romberg)’s performances on their own, I would have liked to see more of a connection between them. As a couple they’re sweet enough, but the chemistry never really fully ignites.

All in all, Soulpepper’s Picture This is an entertaining comedy that’s sure to please, and has the added benefit of the best ‘Exit, Pursued by a Bear’ I’ve seen since The National Ballet’s (excellent) production of The Winter’s Tale! It’s definitely worth checking out, especially in this day and age, where we could all use a few hours of escapism and a good laugh.

Picture This plays until October 7th, 2017 at the Young Centre for Performing Arts in the Distillery District.

Photo by Cylla von Tiedemann

Stage: King Lear (Shakespeare in High Park)

Shakespeare in the Park feels like a summer rite of passage. Every major city has at least one seasonal production of the Bard’s works, performed in an outdoor theater under the stars, and Toronto is no exception. Celebrating its 35th anniversary this season, Canadian Stage’s Shakespeare in High Park is a local institution. So it may be surprising to learn that until this year I was a Shakespeare in High Park virgin!

I’ve lived in Toronto for five years now and I’m still slowly working my way through essential Toronto experiences. I’ve visited the Island, the Beaches, waited in line for instagramable food, trekked out to Scarborough to see the Bluffs, and visited the Christmas Market in the Distillery District. Shakespeare in High Park has always been on this to-do list, but it took a female-fronted production of King Lear for me to finally make it to a performance.

Canadian Stage sets Shakespeare in High Park’s Lear loosely in the 1600s, drawing inspiration from the reign of Elizabeth I, but its selling point is definitely the casting of a woman, stage veteran Diana D’Aquila, in the role of Lear. Her performance itself was transcendent, but the casting of a woman also allows this Lear to explore issues of what it means to be a powerful woman in a traditionally male-dominated role. Of note is the fact that, according to a director’s note, the play was originally approached with the thought that the audience would experience a female Lear in the context of a Hilary Clinton presidency. Instead, President Trump’s vision for the United States has brought misogyny in the Western World into sharper focus.

A female Lear allows for some fascinating commentary on how women are viewed by others, and how they choose to present themselves to inhabit traditionally male roles. Following in the example of Elizabeth I, Diane D’Aquila presents Lear as a once-powerful ruler in decline. Although I thought the opening scenes of the play, in which D’Aquila enters as a frail older woman in a white chemise and is dressed on stage, fitted into the black corset, hoop skirt, and ruffled high collar that show her to be a Queen, went on too long, I liked the concept and symbolism behind this ceremonial dressing.

Diane D’Aquila is the number one reason to watch this play. As Lear, she is captivating, portraying the mental decline of this once powerful woman, the anguish of loss and regret, and the tyrannical fits of fury expected from a woman who has never been denied in her life. At times she displays physical tics and tremors, as well as lapses in concentration that indicate a descent into senility, but these are subtle choices and never feel over-the-top. I couldn’t take my eyes off her whenever she was on stage, and I held my breath as she staggered into the audience, climbing the outside arena’s stairs into the storm. D’Aquila admirably balances fragility and strength in her portrayal of this ailing monarch and it’s an incredibly sympathetic performance.

This masterful performance is just one more reason why a female Lear is such an interesting choice. While King Lear is one of the greatest roles a classical male actor of a certain age will play, it’s that much more difficult for older women to be cast in leading, or at least major, roles. Seeing a woman take on Lear, and do so with such success, was incredibly powerful to witness.

King Lear is perhaps not the most well-known of Shakespeare’s tragedies – Hamlet or Romeo and Juliet are more commonly cited as favourites – but I adore this play. For those new to King Lear, the play tells the story of an aging monarch, who plans to divide her kingdom between her three daughters, Goneril, Regan, and her youngest and dearest daughter Cordelia. Before issuing them each a parcel of land, she demands a declaration of love and devotion. While the eldest daughters extol Lear’s virtues and are rewarded, Cordelia speaks honestly and is banished. Goneril and Regan soon reject their mother, casting her out into a raging storm. Meanwhile Edmund, a bastard son, schemes to supplant his half-brother Edgar as heir to their father’s earldom.

At the heart of the play is the fraught relationship between Lear and her daughter Cordelia. The last actress I saw play the role of Cordelia was inexplicably wooden, and it threw off the whole dynamic of an otherwise solid production. Fortunately Amelia Sargisson is an excellent Cordelia. She is honest and compassionate in the play’s early scenes, creating a character who is likable and wronged by Lear’s ego. A highlight of the play was seeing Cordelia appear on the second level of the set, backlit, and surrounded by billowing smoke. I had chills watching this armor dressed Cordelia, a sword in her raised hand, rallying her troops. Seeing this scene in a play where Lear is portrayed by a woman adds a feminist undertone to the story, and I loved that Cordelia had this grit and determination without losing her compassionate nature.

The other performances were generally solid, particularly the sarcastic Fool (Robert Clarke), and Earl of Gloucester (Jason Cadieux). I liked Michael Man’s Edgar, but in this shortened version of the play it felt like the “B” story, featuring Gloucester, Edgar, and Edmund, had less time devoted to it so we saw comparatively little of his Edgar.

My one complaint is with Edmund (Brett Dahl). I can’t say whether it was an actor’s choice or a case of direction gone wrong, but Dahl played Edmund as stereotypically gay, complete with a lisp and an inexplicable costuming choice where he was the only character wearing an open shirt (or no shirt at all!) for most of the night. I’m of two minds about the choice to play Edmund as homosexual. It does add an interesting element to the scenes between Goneril and Regan as they fight over Edmund’s nonexistent affections, because Edmund is all the more coldly calculating while he clearly plays the women for power/ambition. My problem with it is that the portrayal was just so over the top! Subtlety, thy name is not Edmund. There have been so many cases of the stereotypically gay or coded-as-gay villain in film and other mediums that it’s murky enough territory to wade into, but particularly with such an insensitive portrayal.

The costuming is also a little hit-and-miss. Shakespeare in High Park uses black-and-white costuming that melds the modern with the Elizabethan. This is most effective in Lear’s period black gown, which evokes Elizabeth I with her high ruff collar, and in the simple white chemise she wears underneath. I was less impressed by the more modern gowns worn by Goneril and Regan and the men’s costuming, which had a contemporary feel to it, despite the swords. Since Canadian Stage runs two Shakespeare productions in rep (this year Twelfth Night was the other play), set design has to work for both. This lead to a fairly sparse two level set, brought to life mostly by lighting (which I thought was well done) and a tall throne, which acts as an anchor for the production. The throne design is reminiscent both of a medieval torture device (there are straps for the ankles and wrists) and of the Iron Throne, an interesting commentary on the cost of power.

Some mixed results with the costumes and set and a portrayal of Edmund that didn’t work for me personally are minor complaints though in a production that feels so fresh and interesting. Diane D’Aquila’s performance alone was worth the trek to High Park, and there’s a lot here to admire, from a strong yet kind Cordelia, to the commentary on what it means to be a woman in a male-dominated role. This was my first trip to Shakespeare in High Park and if the quality is generally this high, it certainly won’t be my last.

King Lear wrapped its summer run in High Park on September 3rd.

Photo of Jason Cadieux & Diane D’Aquila, by Cylla von Tiedemann.