Close encounters at Crow's Theatre's: Joe Szek reviews 'We Are Not Alone'

By Joe Szekeres

Do I believe that extra-terrestrial beings can exist? Do any of us believe they might exist?

About fifteen minutes into his riveting monologue performance, Damien Atkins asks us by a show of hands how many of us believe in this possibility and how many of us are still not convinced. I did raise my hand in support of how other worldly life could possibly exist. Notice I’m not saying ‘does exist’ because I’m not certain of that fact.

One thing of which I am certain, Damien Atkins is a raconteur extraordinaire par excellence. I was hooked on every single word of ‘We Are Not Alone’ which he tells us at the top of the show is 99% true.

This was my first visit to Crow’s Theatre, and I do want to return here for future performances. The Scotiabank studio space is an intimate black box venue which worked well for performances of this nature. Upon entrance, a lone and (what I would call) old-fashioned microphone stands brightly lit by one spotlight above the playing space. What appears to be either mist, fog or smoke emanates from the lone spotlight which spills over into the darkness of the rest of the venue.

It wasn’t a sold-out performance as there were several seats available, but there was a buzz of anticipation in the auditorium possibly from the subject material for the evening. I have had the opportunity to see Mr. Atkins perform at Soulpepper and Stratford and knew he was an excellent actor, and I could sense excitement growing as the clock moved towards the half hour.

When the performance began, Mr. Atkins strode out on stage with confidence and charisma. He wanted to make quick eye contact with each of us and let us know that he could see us just as much as we could see him. For me, I got the impression he was most eager to tell us a story of what happened to him in his quest of discovering that we are truly not alone on this planet.

And once he launched into his tale, I was captivated by this man’s performance. I closed my notebook as I did not want to miss hearing or seeing anything.

Part mystery, part thriller, part science fiction (with a dash of humour thrown in every now and then), ‘We Are Not Alone’ is a journey with Mr. Atkins as he begins preparation to write a play about the possibility of other worldly visitors. Throughout the performance Atkins not only tells us about some of the odd characters whom he meets, but believably becomes these characters who are sometimes a hoot to watch or strange oddballs from whom we would immediately run in the opposite direction. Kimberley Purtell’s lighting design sharply focused my attention consistently on the action. Thomas Ryder Payne’s sound design nicely underscored and highlighted the intensity and sometimes the mystery and puzzlement of what we were watching and hearing.

A highly professional presentation and most enjoyable evening.

Final comments: I didn’t care whether I was being led down the ‘cliched‘ garden path in the veracity of searching and trying to understand whether there are other worldly visitors or not. Damien Atkins is one helluva exceptional performer and masterful story teller, and that alone is worth the price of admission. I heartily recommend you see this performance if you can.

‘We Are Not alone’ continues to January 26, 2019 at Crow’s Theatre in Scotiabank Community Studio, 345 Carlaw Avenue, Toronto. For tickets, telephone (647) 341-7390 or visit the website.

Running time: 95 minutes with no intermission.

Co-Directors: Chris Abraham & Christian Barry; Associate Director: Andrew Kushnir;

Scarborough Players' 'Doubt, A Parable': Stand, it delivers says Joe Szek

By Joe Szek

I've read a number of articles recently from theatre bloggers where live audiences for any professional or non professional live productions feel they must always give a standing ovation. Has the 'standing o' has lost its' impact?. Because one may be friends or related to a cast member, does that merit 'a standing o' whether or not the play was any good? Point of order here - a standing ovation is only to be given when a live performance has truly moved audience members emotionally or viscerally.

Read more at Inside Looking In here ->

Tarragon's ‘Kiviuq Returns: An Inuit Epic’ beautifully connects audience and cast as one

By Joe Szek

‘Kiviuq Returns: An Inuit Epic’ is a creative-collection performance of drumming, song, story-telling and movement based on the legends of the Inuit hero Kiviuq, as remembered by Inuit elders: Miriam Aglukkaq (from Kugaarjuk), Susan Avingaq (from Igloolik), Madeleine Ivalu (from Igloolik), and Qaunaq Mikigak (from Kinngait). There is an English language descriptive guide in the program and online that I would recommend future audiences to read in order to develop further insight of the play.

At this opening night sold out performance, I will be honest and say I had no idea what I would be seeing. The entire production is told in the Inuktitut language. There was a brief opening night introductory remark with director Laakkuluk Williamson Bathory before the performance began that had a slight political edge to it regarding Canada’s initial irresponsibility in half hearted assurances and broken promises made to the Indigenous people. As Canada continues to acknowledge the atrocities committed against the Indigenous people, I believe it was necessary to hear these opening remarks as a continued reminder of what happened historically.

I thought it was a nicely orchestrated touch in watching Ms. Williamson Bathory carry a young baby in her arms while she spoke to the audience. Her Director’s Note in the program states: “Our repeated actions on stage [each performance] are healing. Our connection between our elders and young people is deepened.” For me, I felt there is an inherent responsibility that the elders must ensure the young people continue to speak the language and encourage the language to be spoken. Carrying the baby out to the audience was a gentle reminder this tradition will carry on.

I recognize that this ensemble based theatrical presentation may not appeal to all interests and tastes of discerning audience members, but I believe it’s important for each of us to move out of our comfort zones and try something unique and different. ‘Kiviuq Returns: An Inuit Epic’ certainly made me leave my comfort zone.

Did I understand everything? Absolutely not, but the program guide and lights coming up periodically allowed me to review quickly what I was about to see before the next story began.

It’s a bare stage with minimal set dressings that are easily manoeuvred on and off. From my seat in the house, Looee Arreak’s costume designs were gorgeously colourful to see. Jamie Griffiths’ projection designs transported me to many northern Canadian locales that made me want to see this part of my country sometime very soon. The drumming and chant at the top of the performance were effective reminders to me of the continued presence of the Indigenous culture here in urban Toronto.

What struck me the most about this opening night performance and made me appreciate this evening spent at Tarragon? Again, from my seat in the house, I saw and watched the joy on the faces of this intensely focused six-member ensemble cast who found humour, pathos, sadness, regret and hope for their future. I hesitate to single out any of the performers or spoil any plot moments as the cast gelled nicely in their quest to share the story of Kiviuq.

I loved the vocal intonations of the Inuktitut language. Periodically, I closed my eyes during the performance just so I could concentrate on hearing the rhythms and sounds of the voices of the performers speaking. I was fortunate to have had wonderful second language teachers in high school and during my undergraduate years who instilled in me a love of appreciating and experiencing second language culture. This cast continued that same love affair I have with second language learning.

I don’t want to spoil any moments for future audiences, but the conclusion of the production beautifully connects audience and cast as one. The appreciation on the faces of the cast and crew at the curtain call spoke volumes to me.

Performances of ‘Kiviuq Returns: An Inuit Epic’ continue to January 27, 2019 at Toronto’s Tarragon Theatre, 30 Bridgman Avenue. For further information and/or to purchase tickets, visit the website or call 1-416-531-1827.

A year in the life of Joe Who? - '1979" on at Berkeley Street Theatre

By Joe Szek

For most Canadians, it was a blink of an eye in remembering a naively thirty-nine-year-old Joe Clark’s tenure as the 16th Prime Minister of Canada from June 4, 1979 – March 3, 1980. I was just finishing high school and can recall the turmoil in which our country found itself during this time, but I really had no interest in that political spectrum as all my thoughts were turned to beginning post secondary education.

I wish now that I had paid closer attention to said events as they were comically played out to audience delight and standing ovation in Michael Healey’s superb comedy ‘1979’ now on stage at the Berkeley Street Theatre.

‘1979’ takes place in one evening where Joe Clark, in the dying days of his Progressive Conservative government, awaits the parliamentary vote he knows will topple his government. During the evening, Clark received numerous visits from many people in his office who were either there to prop up support for him or to destroy his morale through suspicions and mistrust.

And in the skillful hands of Director Miles Potter, this extraordinarily terrific three person cast skewers and lampoons moments from the script with an acerbic and satirical biting edge that had me in continuous laughter. Wonderful live work to watch and to hear.

Philip Riccio wittily conveys a stubborn side of Joe Clark not seen by the general public. I don’t want to spoil too much of the plot but his meeting with Christopher Hunt’s Pierre Trudeau magnificently shows this stubborn character trait.  I loved the brown corduroy suit which became one of Clark’s trademarks. His meeting with perfectly coiffed and designer clad wife Maureen McTeer (a vibrant Jamie Konchak) suggested a rather randy ‘love nest’ office rendezvous that might have occurred more than once.

Ms. Konchak and Christopher Hunt play numerous characters who visited Mr. Clark on this so-called fateful evening. One of the highlights for me (and it appeared the audience) was the arrival of Pierre Elliott Trudeau in the PMO. Mr. Hunt is superb as the snobbish, priggish and self-righteous father of our current prime minister. Mr. Hunt’s portrayal of a possibly foul-mouthed John Crosbie kept the laughter high as Mr. Riccio (as Joe Clark) kept the music volume turned up to drown out Crosbie’s histrionics. Along with her performance as Clark’s wife, Ms. Konchak shines as a bombastic prime minister in waiting Brian Mulroney and a young and rather dull Stephen Harper.

Along with the nicely timed pacing of the story, Scott Reid’s projection design to refresh our memories of what historically occurred at specific times were a hoot to read. Steve Lucas’ set design of dark panelled wood was an effective contrast to the hilarity ensuing in each of the scenes. 

Final Comments: A must-see specially to watch three performers who are in total control of crazy and ingenious synchronicity of emotions.

‘1979’ runs 90 minutes with no intermission.

Performances continue to January 27, 2019 at Toronto’s Berkeley Downstairs Theatre, 26 Berkeley Street. For tickets please visit the website or telephone 416-368-3110.

Cast: Philip Riccio as Joe Clark, Christopher Hunt as Actor A and Jamie Konchak as Actor B.

Producers: Michael Healey, Marcie Januska, Miles Potter; Director: Miles Potter; Set Design: Steve Lucas; Lighting Design: Nick Blais; Costume Design: Jennifer Lee Arsenault; Sound Design: Thomas Geddes; Projection Design: Scott Reid.

Dispel the winter blues with 'RED" presented by Creative FORCE and Northumberland Players

By Paul Love
Guest Reviewer

“Red”, by award-winning American playwright and screenwriter John Logan, is a fictional account of a turning point in the career of real-life abstract expressionist Mark Rothko, which earned six Tony Awards after a relatively short stint on Broadway. Creative FORCE and Northumberland Players are currently staging a production of “Red” at the Firehall Theatre in Cobourg.

The play opens with Rothko (Tim Russell) posturing and blustering as he sizes up his new assistant, Ken (Erastus Burley). “What do you see?” Rothko asks Ken — the perfect opening line to a play that is all about the importance of perception in the creation, development, and appreciation of art. Mr. Burley plays Ken with an anxious discomfort that resonates powerfully with the audience. We feel his anxiety as he struggles to earn the respect of this famed artist who he clearly admires. Mr. Russell commands the stage effortlessly, appropriately making Rothko the god-like master of his own studio.

Rothko was creating a series of murals that would be displayed in New York’s Four Seasons Hotel, which was being built at the time. As the work develops, so does the working relationship between these two characters. A change is seen more so in Ken, who becomes increasingly comfortable in Rothko’s studio, and with Rothko himself. Kudos to Mr. Burley for making this change in Ken subtle and nuanced. Mr. Russell expertly maintains Rothko’s gruff, cool exterior, while showing Rothko’s progression mainly through more aggressive behaviour and fits of anger. The culmination of their relationship can be witnessed in a scene where the two work together to prime a canvas, in a gorgeous, mesmerizing moment that is almost dance-like. As the play progresses, Rothko and Ken share in some incredible conversations and arguments about light, colour, the role of the audience, and the purpose of art itself, that will cause at least minor eruptions in the minds of the audience members, thanks to Logan’s beautifully written script.

Mr. Burley also designed the set, which involved cleverly stripping the performance space down to its bare bones, and bringing it to dirty, gritty life with old paint-splattered cupboards, industrial work benches, and beat-up paint paraphernalia. Aside from taking on the role of Rothko, Tim Russell also created a great lighting design, which was effective at evoking mood throughout.

The real centrepiece of this production is the performances. Russell and Burley (who, incidentally, were also the uncredited co-directors of the production) play off each other exquisitely, and perform real physical tasks such as framing a canvas and mixing paint (and eating Chinese food!) with such ease, you start to forget that you’re watching two actors performing a scripted play. Russell portrays Rothko with the self-assuredness that this character requires, and that only a truly seasoned actor could pull off. His performance is, in a word, remarkable. Burley expertly covers a wide range of emotion with his performance as Ken (who, notably, is a character that Logan created, and not based on a real-life assistant), always with boundless energy and intensity, but never going too far. There is one scene in particular where Ken recounts a dark moment from his past where Mr. Burley creates a moment that is poignant and heart wrenching.

Remaining performances are January 10th, 11th, and 12th at 8 pm, at the Firehall Theatre, 213 Second St., Cobourg. Tickets are available at the box office or by visiting the website. The show is approximately 85 minutes with no intermission.