Theatre Passe Muraille presents 'Chico' - review by Joe Szek

By Joe Szek

I was pleased upon my arrival at Passe Muraille and being told the production is not pronounced ‘Chico’ as in Chico & The Man but ‘Cheech’o (as in comedians “Cheech & Chong”). I am hoping you are old enough to remember these two references. Mr. Bitter also refers to this fact at the top of the show.

Theatre Passe Muraille has billed ‘Chicho’ as “an ashamed-queer-Catholic-man-boy from Venezuela who hilariously attempts to feel beautiful despite his warring identity politics”. So much inferred within this statement that I had no idea what I was about to see; however, what I’ve been discovering lately is the theatre of which I know nothing about leaves an indelible mark. This was my first visit to Passe Muraille so I was looking forward to attending.

Read more at Inside Looking In here ->

Whodunnit Done Right — Scarborough Theatre Guild Presents Agatha Christie’s The Mousetrap

By Paul Love

In order for a theatre show to claim the title of Longest Running Play in History, it needs to be entertaining. And if it’s a murder mystery, it needs to be intriguing. Thankfully, Scarborough Theatre Guild’s production of Agatha Christie’s The Mousetrap is all of this and more.

For those who don’t know the story, the action takes place at Monkswell Manor, a recently converted guest house located in the remote countryside in England. As the play opens, it is revealed to us through a radio report that a woman has been murdered in London and the killer is still at large. The proprietor of Monkswell, Mollie Ralston, and her husband, Giles, arrive at the manor amidst a raging snowstorm and quickly prepare for the arrival of their guests. The four expected guests begin to arrive. They are followed by two unexpected visitors. Ultimately, the stage is set with eight people trapped in the guest house, who soon discover that one of them is the killer.

We get an immediate and powerful sense of setting with Mike Scott’s smartly designed and gorgeously decorated set. The ornate fixtures and the comfortably worn furniture and rugs, combined with David Buffman’s excellent lighting design, give the audience a sense of a warm, cozy retreat, which contrasts powerfully with the chilling spectre of murder.

Director Chelsea Jones stages the production expertly, ramping up the action to a sense of urgency in just the right moments, and then bringing it back to earth in between those moments. She balances the action nicely between the two sides of the room, and she uses the second floor sparingly but effectively.

Photo by Julie P. Adams.

As with most murder mysteries, the characters usually have a lot more going on that what we initially see, so a talented cast is needed to pull it off. Ms. Jones has assembled a troupe of actors who are more than up to the challenge.

Mackenzie Potts’s performance as Mollie Ralston is nothing short of revelatory. She whisks herself about the stage, trying to make sure everything is perfect, struggling to keep the peace amongst the guests and with her husband, often flabbergasted, but always in control. Ms. Potts has created a riveting and believable character who is instantly likable, and has us rooting for her from the get-go.

Giles Ralston, Mollie’s partner in marriage as well as running the guest house, is played with such luxurious charm and fervor by Nick Saraf, that it is easily understood why Mollie trusts him implicitly.

Abram Taylor creates a kooky man-child with his hilariously eccentric portrayal of Christopher Wren. Mr. Taylor’s complete commitment to each moment easily allows him to steal scenes throughout the show, without ever making the character more than it should be.

Patricia Byrne’s take on Mrs. Boyle is the perfect grumpy, fussy, older Englishwoman, with her spot-on sense of entitlement and superiority, making for an enjoyable performance.

David Cooke truly embodies a disciplined, militaristic upbringing with his stern disposition and clipped tones whenever he chooses to speak.

Carina Cojeen creates a truly enigmatic character with her portrayal of Miss Casewell, infusing her with a sense of adventure and intrigue, while managing to make her seem guarded at the same time.

Stephen Flett gives a wonderfully energetic performance as Mr. Paravacini, one of the unexpected arrivals at the manor. Mr. Flett allows his character to walk a tight rope between gregarious and mysterious.

The other unexpected guest, Detective Sergeant Trotter, is played to great effect by Kai Novak, giving Trotter a strong sense of duty, tempered with warmth and sincerity, as he struggles to reveal the killer’s identity before tragedy strikes.

If you’re in the mood for a classic murder mystery — played with great humour as well as intrigue — get yourself to the Scarborough Village Theatre, 3600 Kingston Road. Remaining performances are March 14, 15, 16, 21, and 22 at 8 pm, and March 17 and 23 at 2 pm. Tickets are available at the door or visit the website.

The Bloor West Village Players presents Jordan Tannahill’s ‘Late Company’ until March 23.

By Peter Mazzucco
Guest Reviewer

Produced by Anne Harper and directed by Valary Cook, ‘Late Company’ is a story about acceptance, blame, forgiveness and regret as well as the consequences of bullying. Each character embarks on a journey of self-discovery as well as learning about those around them. The play was an important one for me as it allowed me to seek out common character threads within the characters as well as share in the tragic event which joined them together originally.

‘Late Company’ showed me how things aren’t always what they seem to be. It’s an important life lesson piece in trying to understand how we may form judgements and conclusions without having all the information required for a proper examination of the events that happened

‘Late Company’ begins with the light rising on the Shaun-Hastings family in their dining room awaiting their guests, the Dermots. As the Shaun-Hastings family waits, they discuss the merits of having dinner with the family of the boy who was involved in the bullying of their son, Joel, who had committed suicide as a result of it. When the Dermots finally arrive, niceties are exchanged and apologies and explanations are given.

Over the course of dinner, I watched intently how small talk of common interests and similarities of the families soon led to complex responses to the tragedy of suicide. Differences over many issues including career versus family, the role of wives and how children should be raised all began to focus on blame, regret, anger and hurt.

To deal with such themes as blame, forgiveness, regret and acceptance requires a complex understanding of human behaviour and how people utilize their emotions in moving past a tragedy like suicide. Director Valary Cook would, I’m sure, have had many discussions with the cast in the creation of realistic and believable people. For the most part, Ms. Cook’s vision threaded through the production.

As Deborah Shaun-Hastings, Lydia Kiselyk (in a classy performance) is not so vocal about niceties and pleasantries exchanged as a result of the tragedy that ensued. Her choice of ominous sounding classical music underscoring the dinner speaks volumes in how she feels about the situation. Rob Candy plays Michael Shaun-Hastings with a stoic dignity and depth of character understanding that it’s hard to believe he stepped into the role just before opening night.

The introduction of Tamara Dermot (Andrea Lyons), Bill Dermot (Andrew Horbatuik) and their son Curtis (Dylan Mills-Capote) offered an interest contrast to their hosts in their views and appearances. Mr. Horbatiuk plays the man’s man, Bill, with great aplomb. Bill is a dislikable person who has a belief in corporal punishment and an attitude of ‘boys will by boys’ take on things which becomes most hurtful to the Hastings. Ms. Lyons displays a deep level of emotion as the dinner progresses through periods of recrimination and finally understanding. The highlight of the evening for me was the young Mr. Mills-Capote who played the adolescent Curtis with such honesty that he won me over completely.

Tickets at villageplayers.net or call 416-767-7702. The theatre is located 2190E Bloor Street West (east of Runnymede Station). The production runs to March 23.

Durham Shoestring Performers close out season with 'Tomcat' - preview by Joe Szek

By Joe Szek

Whenever I hear a community theatre company premieres a play, I’m always respectful and mindful of the tremendous amount of work involved. What I have always admired about DSP, under Artistic Director Carolyn Wilson, is its mandate to present challenging and entertaining plays with an emphasis on innovative acting, writing, directing and design and keeping costs low so that the play can be accessible to all members of the community. Under the vision of local actor/director John Lunman, he promises the science fiction drama Tomcat to be an evening of thought-provoking theatre that will be enriching while hopefully leading to further discussion after the curtain call.

Read more at Inside Looking In here ->

Mirvish presentation, 'Jersey Boys' hasn't aged well - Review by Joe Szek

By Joe Szek

This touring ‘Jersey Boys’ is not an entire disappointment by any means. There are moments in the documentary style Four Seasons format where the joy of song is celebrated by the performers on this opening night. Unfortunately, this company had to keep re-lighting the flickering flame to produce the necessary spark which became a distraction for me.

Read more at Inside Looking In here ->