Theatre on the Ridge production 'The Wind in the Willows' gives flight to fantasy - review by Joe Szek

By Joe Szekeres

Last summer, I remember writing how Theatre on the Ridge’s production of ‘Peter Pan’ made me re-think my personal bias of theatre that I thought was only deemed for children. I wasn’t stuck on J. M. Barrie’s classic story, but last summer’s play at Town Hall 1873 made me realize that I needed to re-visit classic favourite stories of children and adults that have been adapted for a live stage production.

Canadian director, writer and artistic director Michael Shamata has adapted Kenneth Grahame’s perennial ‘The Wind in the Willows’ currently on stage at Port Perry’s Town Hall 1873. His adaptation with direction by Barry McCluskey and members of the ‘Wind’ Company is great fun to watch. There are several clever unique elements at work here.

For one, each of the actors plays an animal, but they are dressed as people from the early twentieth century in Victorian England. We meet Rat (Ian Cameron Williams), Badger (Jack Copland) and Mole (Demi-Lee Bainbridge) who tolerate the sometimes-reckless behaviour and antics of their friend Toad (Daniel McCormack). Toad gets himself in trouble with the evil Weasel (Frances Loiselle) who wants to take over Toad Hall. Throughout all this mayhem and mischief, we meet other characters: Otter (Michael Williamson), Skunk (Billy Keefer), Tommy (Barry McCluskey) and others.

A child like Imagination and suspension of disbelief are of extreme importance to watch this production. It is a closed curtain on our entrance but there is a tree trunk stage left. As the curtain opens, aqua blue fabric runs along the stage angled to create the effect of water. I loved the Flintstone looking boat and car (courtesy of Andy Williamson) that were used to transport characters either across the river or down the lane where Toad drives recklessly. Colin Hughes’ lighting nicely illuminates all areas of the playing space. Effective work by Judith Sanders and Sheila Nicholson in costume coordination and design of each unique character. Debbie Beggs’ hair and make up effects smartly delineate each of the characters for us.

Ian Cameron Williams and Demi-Lee Bainbridge - Photo by Lexi MacRae

A Sears Drama adjudicator once told me years ago that it is difficult for a director of a play also to appear in the production as a cast member. Why? The director must be able to be that third eye component to watch all elements of the production. I would say yes that’s probably true; however, for this ‘Wind’, incorporating a company effort has kept things interesting to watch, to hear and to listen.

Barry McCluskey probably wanted to ensure the show’s pacing clips along and doesn’t drag. I found at this opening night performance it didn’t occur whatsoever. As soon as one actor exited the stage, another appeared immediately or there was an appropriate light and sound cue to move things along. Michael Williamson’s original musical composition evoked for me the kind of lyrics and odes that we could have possibly heard at the turn of the twentieth century.

For a period British play to feel authentic, and which must speak both to child and adult, the actor must have a solid hold not only on character development but also on voice, diction, enunciation, all peppered with a British/European accent. To my ears, I felt as if the cast had sustained believably that British lilt to the ear. To borrow a well-known adage, Demi-Lee Bainbridge is as ‘cute as a button’ as the myopic Mole. There is a gentleman like quality about Ian Cameron Williams’ portrayal of Rat. Whenever I hear the word ‘rat’, I sometimes think of a sleazy like character, but Mr. Williams plays him more than that.

Daniel McCormack is delightful as the self-indulgent, at times boastful Toad. Mr. McCormack’s wide eyes when Toad is in trouble convey so much without saying anything. His escape in front of the closed curtain from Frances Loiselle’s sinisterly melodramatic Weasel reminded me of some great escapes from feature films. A charming Jack Copland as Scottish Badger (in a kilt nonetheless) drew my attention immediately each time he entered the stage. Loved hearing Mr. Copland’s natural sounding accent as it clearly made him distinct from the others. His make up effects from my seat in the house are remarkably define his facial features each time he speaks.

Final Comments: Delightful entertainment for the summer and one to bring children and introduce them to the world of live theatre.

Theatre on the Ridge’s production of ‘The Wind in the Willows’ continues July 16, 18, 20 at 2 pm and July 13 and 19 at 7:30 pm at Town Hall 1873, 302 Queen Street, Port Perry. For online tickets and other information, visit their website. You may also purchase tickets at the door before each performance.

Theatre On The Ridge production ‘Willow Quartet Musical’ is beautifully sung and realistically performed

By Joe Szekeres

There’s always anticipation to attend a premiere production of a new, live theatrical work. It is a huge undertaking (and sometimes a risk) for a professional theatre company to open its season with an unfamiliar story for local audiences. For director Carey Nicholson, she and ‘Willow Quartet’ are not unfamiliar as they go back several years to Aurora, Ontario and to the first staged workshop of the play which is now gaining popularity with Ontario theatre organizations.

In 2015, Ms. Nicholson heard from playwright Joan Burrows that the next phase of evolution was to find a theatre company to workshop the first staging of ‘Willow Quartet Musical’. Nicholson was happy to offer Theatre on the Ridge as she and Music Director, Carol Salamone state in the program it has “been a new experience and a joy to bring music and script together for the first time.”

Indeed, it was a wise choice. ‘Willow Quartet Musical’ is a poignantly moving story, beautifully sung and realistically performed by five solid actors who never venture into the sappy or melodrama. If anything, I left the performance feeling uplifted and confident that life can and does move forward amid turmoil and crisis.

A rural family of modest means, mother Kim (Ashlie White), father Ben (Lyle Corrigan), grandmother Marjorie (Roz McArthur-Keyes) and son Josh (Nathan Simpson), are recovering from a family tragedy and are trying their best to return to their strong roots of connection they have with each other and with their community. Musician Jim (Chris Daniel) enters this family’s life and, through his influence, shapes and molds the new identity of these people as they experience a new normal in their lives in moving forward.

Given that Theatre on the Ridge is a repertory company in the summer, Melanie Baker and Carey Nicholson’s set design fittingly works well on the Town Hall stage. It’s minimalist but we have been transported to a rural setting. Far stage right can be found garden tools. On stage right, there is an outdoor porch of two wicker chairs slightly angled with table in between. A laundry basket with clothes is at the foot of one of the chairs. Laundry hangs on a clothesline upstage. A wooden fence can be found upstage. An angled bench is found stage left. We also see a willow tree with branches bent and part of its trunk stage left. Victor Svenningson’s sound designs of motorcycles and tractors also add effectively to the creation of a country setting.

Kudos to Music Director Carol Salamone and her band members for the unobtrusive musical underscoring along with gorgeous sounding harmonies in several of the musical numbers. What worked well for me during this opening night production was the important fact that I could hear the lyrics of each song. The opening number “Roots Run Deep” is so powerfully sung that it still hauntingly remains with me as I write this article. In this production, important character development occurs in each song. If I can’t hear the lyrics at all, this frustrates me to no end, and I am always the first to point it out. Rest assured, that didn’t happen here once.

What a treat to have playwrights Joan Burrows, Ron Cameron-Lewis and Jason Saunders as opening night attendees. I had the opportunity to speak to Mr. Cameron-Lewis after for a few minutes and he appeared pleased the production was well received. The smiles I saw on many of the audience members’ faces as they were leaving was the first indication they too were pleased with what they had just seen.

Carey Nicholson’s compassionate direction made me feel sympathy and empathy for each of these individuals who are believable in their emotional responses. What makes this production work so well is the exhibition of true ensemble work. Each of them has a moment to shine in a humoristic and dramatic moment.

Ashlie White is a vulnerable, aching mother who is doing her best to move forward daily. Lyle Corrigan is also a vulnerable, aching father who in the second act reveals just how much he is hurting on the inside. Nathan Simpson as eighteen-year-old son Josh broke my heart as he tries his best to keep his emotions in check in dealing with his parents. His final scene with grandmother Marjorie is very touching. Roz McArthur Keyes is practical and down to earth as the grandmother who offers that bit of necessary advice when needed. Chris Daniel gives a charming performance as the handsome musician/stranger who becomes a touchstone of hope and encouragement in the face of adversity.

Final Comments: A most enjoyable production to open Theatre on the Ridge’s 2019 summer season. I’m hoping other groups may pick up ‘Willow Quartet Musical’ for their slates in the near future.

‘Willow Quartet Musical’ continues July 9, 10, 12 at 7:30 pm and July 13 at 2 pm at Town Hall, 1873, 302 Queen Street, Port Perry. For tickets, visit the website.

Scarborough Village Theatre tees up Norm Foster's 'The Ladies Foursome'

By Joe Szekeres

Norm Foster’s Golden Girls of the Golf Course have teed off for another two-week round of golf at Scarborough’s Village Theatre.

And they’re just as sassy, bitchy, sensitive and adorable as ever.

On the day after their friend, Catherine’s, funeral, Margot (Meg Gibson), Tate (Lucy Clarke) and Connie (Uju Umenyi) gather for a round of golf in honour of their departed dearly loved one. The ladies are joined by a fourth, Dory (Carolyn Williamson), another friend of Catherine’s that they have never met. During this round of golf, there are some amusing moments, some poignant moments, some quiet moments and some angry moments as they all try to piece together where life has brought them and where life is taking them in discussion of various subject matters of friendship, religion, sex just to name a few.

The three-quarter thrust stage of the Village Theatre reminds me of Stratford’s Festival Theatre, and I always wonder how the set design will function. Greg Nowlan’s set design here is terrific. Combined with Reese Brunelle’s projection design up centre of the beginning of the fairway, I felt as if I was transported right to a golf course. David Buffham’s lighting design nicely incorporated the green colour tones. On stage left slightly angled is a bench with a ball wash and small garbage pail nailed to a pole. On stage right is a sign announcing each hole and the par number.

Some reviewers have found that Mr. Foster’s earlier works might be formulaic. The characters find themselves in a ‘slice of life’ setting and moment in time. No matter how dramatic or serious a moment becomes, there is the need to laugh. (sounds like something right out of ‘Steel Magnolias). I prefer not to think of Mr. Foster’s work in this manner; instead, I just want to experience the immediacy of the moment with the characters.

Of course, each character must have distinct outward appearances that will make us remember them. Mary Nowlan, Meghan Clavel and Darlene Thomas’s respective work in costume, make up and hair designs create four unique character individuals who are obviously enjoying their day spent outdoors.

Each time I see this play I smile as a male playwright/author understands the psyche of the female, what makes her tick, what makes her angry, what makes her a woman. Director Katherine Turner has taken Foster’s script and worked diligently with it to create believable and realistic characters who appear as if they have it all together on the outside. Inside, their secrets and ‘hidden pasts’ come to the forefront sometimes hilariously, sometimes poignantly, sometimes angrily.

‘The Ladies Foursome’ is a wordy play and a running time of 2 hours and 40 minutes (with interval), so obviously pacing is of the utmost importance here. We do pay a visit to all eighteen holes of this round of golf. The one challenge behind this play is the transition from one scene to the next – do you go to blackout or somehow can the scene change without the auditorium going dark? The blackout may pose a challenge as it can periodically break focus on the plot and development of the characters. Fortunately, there was enough variety in the scene changes which helped differentiate that time moved forward on the golf course. At this opening night performance, however, the polite clapping from the audience at each scene conclusion broke my focus somewhat and I had to work harder to regain the plot interest and character development.

For this play to work and for the plot to move forward, these ladies must be in tune with each other and secure in their own performances of character development. As construction company owner, Margot, Meg Gibson is spot on in her matter of fact and ‘to the point’ delivery with just a dash of a cuss word each time she tees off. Uju Umenyi is deliciously funny as the on the prowl, cougar newscaster, Connie. Without spoiling what Connie does after her friend is buried, let’s just say I laughed out loud as Ms. Umenyi’s facial expressions said it all.

Carolyn Williamson incorporates the right amount of hesitation at the top of the show as Dory since she just met these ladies only the day prior. There are some wonderful bits where she begins to warm up to the game and to her new friends (the beer drinking with Margot is a riot to watch). Without going into melodrama or histrionics, Ms. Williamson handles the dramatic impact of their common friend, Catherine, with grace, charm and poignancy. As stay at home mother, Tate, Lucy Clarke’s facial expressions added humour to several moments (especially when the secret is discovered about Margot and Connie). Ms. Clarke’s accent is charming to hear; however, there were moments where her enunciation was not clear to my ears and I had difficulty hearing Ms. Clarke especially if her back was turned momentarily. Sometimes, I lost the joke or the zinger that was flung back to the other ladies. As performances continue, I’m sure all the ladies will be mindful of the importance of enunciation.

Final Comments: Congratulations to the Scarborough Players and to this production which closes out their sixtieth season. Get to see ‘The Ladies Foursome’ for a most entertaining time at the theatre. I am looking forward to their sixty-first season.

‘The Ladies Foursome’ runs July 4-6 and 11-12 at 8 pm with matinee performances July 7 and 13 at 2 pm at the Scarborough Village Theatre, 3600 Kingston Road (at Markham Road). For tickets call the Box Office (416) 267-9292 or visit the website to purchase online or further information.

Remembering The Winnipeg General, zietpunk Theatre production review by Joe Szek

By Joe Szekeres

A hot topic of an important Canadian History issue on a very warm evening.

During my undergraduate years at Western, I did manage to take one Canadian History course. Although that was over thirty years ago, I can still recall one of our controversial lectures with the professor who at that time didn’t mind carrying on with the topic at hand. The theme of the lecture:

“Canadian History is extremely boring compared to the history of the United States.”

On a very warm summer evening, I attended zietpunk Theatre’s history lesson on the Winnipeg General Strike of 1919 to see if this statement rings true for the twenty-first century. If anything, writer Thomas McKechnie has certainly done his homework in the creation of a richly, dense text of information performed by Heather Marie Annis and Ximena Huizi in approximately 80 minutes with no interval.

Performed at the Owl’s Club (Bloor and Dovercourt Roads), the story (told in a Brechtian vaudeville style) celebrates the centennial anniversary of the six-week Winnipeg General Strike in 1919 and the uprising of the working class, especially of the immigrants and of the women involved. At times, we enter the world of many of the immigrant workers and their lives, while at other times information is presented to us and we are polled three times during the production to gauge our opinions.

Before the production begins, pianist Jesse Corrigan regales us with music from the era in an extremely warm auditorium. Throughout the production, Mr. Corrigan nicely underscores some of the dramatic intensity without pushing it way over the top. Kristine Schmitt also provided some important vocal work throughout the production. A piano is located far stage right. A banner which the inscription REMEMBERING THE WINNIPEG GENERAL is hanging up centre stage. A makeshift blackboard is also found up centre stage with costumes hanging from hooks on the left and right. Some costume changes take place behind the blackboard.

Mr. McKechnie’s research from my perspective appeared to be quite thorough. He has taken a great deal of information (I’m assuming primary and secondary sources) and created an informative and dramatic script. There were moments where so much information was given that I started to zone out for a few seconds as I didn’t know if my brain could absorb any more. It was also quite warm in the auditorium which probably didn’t help the fact I was starting to lose focus.

Erin Brandenburg did have her hands full in directing this piece as I’m sure a great deal of planning was necessary to keep the pace moving. And yes, she and the actors do keep it clipping along which is important as it does help to maintain our focus.

What really impressed me the most for the evening was the work of Heather Marie Annis and Ximena Huizi. I lost count after awhile, but I got up to twenty characters (divided by 2) which means each lady played at least 10 people plus more. This is quite a feat as the responsibility lies with the actors and the director to ensure they have created believable people. And they did – some of the European accents they incorporated were passable but at times I experienced some difficulty in hearing all the dialogue. Obviously accents plus proper enunciation are of the utmost importance for sound clarity.

I was intrigued in watching how the ladies used the many props to maintain our interest to tell the story of the strike and of the effects and results. A couple of moments were adlibbed with much needed laughter if one of the plasticine figures happened to break apart in the handling.

The audience polling stopped the plot’s momentum dead in its tracks which became problematic for me near the end. A point of consideration perhaps that polling might be cut down either to one or no more than two polls.

I don’t want to spoil the conclusion, but the recounting of what happened after the six-week strike and the movement of the actors, the plasticine objects and items certainly made its point dramatically.

Final Thoughts: So, let’s return to the question that was asked in my Canadian History lecture over thirty years ago. No, I wouldn’t say that Canadian History is boring in comparison the history of the United States. Zietpunk theatre took a chance to bring to life an important moment from our history with parallels that have been made to our current economic status – decent wages, appropriate living conditions, justice and fairness in the workplace. For this reason, it is an important one to see.

‘Remembering the Winnipeg General’ continues to July 6, Wednesday to Saturday at 8 pm at The Owl’s Club, 847 Dovercourt Road. Tickets may be purchased at the door before each performance.

New Artistic & Creative Consultant for Cobourg, Antonio Sarmiento; interview by Joe Szek

By Joe Szek

Antonio Sarmiento will always be eternally grateful for the opportunity to partake in the success at Port Hope’s Capitol Theatre over the last five years. When his contract expired January 1 of this year, he took a short hiatus to re-assess where he was wanted to go next and what he wanted to accomplish in the field of live entertainment.

So many people and many of his Facebook followers begged and pleaded with him not to go far which gladdened his heart as Antonio has put down roots in Cobourg with his family over the past 10 years as a Cobourg resident and proud Cobourg Rotarian. He had explored opportunities in California, Pennsylvania and Florida. He also attended the acclaimed Disney Institute’s Leadership Excellence program, which excited him again in his passion and growth in the business of marketing and business strategies in providing innovative live entertainment.

He then never expected what happened next:

‘I was awarded a position working directly for the Corporation of the Town of Cobourg as Artistic & Creative Consultant to the Town of Cobourg with specific emphasis on the development of live entertainment at the Concert Hall at Victoria Hall. What also drew me to this opportunity is the unique design of the venue and the ability to use technology to enhance everything produced there while embracing the historical elements of this beautiful and historic building.”

Sarmiento compares his new position to boarding a stable ship that has already been at sea (with a fabulous team) at Victoria Hall that just needed a captain to begin the process of guiding her to new ports. He states that he has the marketing, resources and support of the town of Cobourg behind him to create exciting opportunities.

Given fiscal restraints currently in Ontario right now, Antonio has learned how to “stretch a penny” in his words. He’s been down this road before working for Non-Profit organizations and more locally at the Park Theatre and Performing Arts Centre which he leased over ten years ago where he had no funding but great success. What he’s learned from his work at the Park Theatre and his tenure at the Capitol Theatre was the caveat for innovation in an economic manner.

“The evolution of technology plus the skill sets I’ve acquired working with incredible mentors over career my have been a key factor in allowing me to put everything I have learned from Stage to Film to Digital Entertainment to use. The amazing teams I have had around me to execute this vision have also been critical success factors. Working with some of Canada’s top choreographers, Music Directors and performers while creating new ways to produce entertainment has been a great learning experience and I owe a lot to those that have stood beside me and trusted a new vision. When I walked into my new position here at Victoria Hall, I knew I had been here before. New building, similar challenges, but a wonderful new opportunity to evolve a vision I have fostered over ten years, I’ve learned what to do, how to do it and I’m ready to do it bigger and better,” he says.

Antonio comments on the fact Victoria Hall has so much going for it – ticketing services, excellent lighting and sound facilities, a 360 open concept venue which allows for so much development and growth. All of this is prime for innovation, and according to Sarmiento, “innovation doesn’t have to cost millions of dollars.” As revenue comes in, the town of Cobourg could continue to re-invest which will ensure bigger and better events can occur at Victoria Hall. There is a great opportunity here.

I asked him why people might consider travelling east to Cobourg for entertainment rather than travelling to Toronto:

“Northumberland County is very rich with talent. I like to think of it as a big city with a small-town heart. Our new website which is part of ExperienceCobourg.ca will delve further into what the town has to offer. Cobourg has a vibrant arts scene to discover boasting a setting that could not be more magical with the town’s picturesque location on the shore of Lake Ontario. It is the unforgettable backdrop for its majestic town hall, Victoria Hall. The beautifully restored building also houses the Concert Hall, the Citizens' Forum, the historic "Courtroom" and the Art Gallery of Northumberland.”

Antonio stresses the importance of community, liaisons and partnerships in his new position. Since Cobourg is a bigger town, there should always be communication between all venues because as the tide rises all ships go up with it. What has impressed Antonio a lot in this new position is the fact that he didn’t have to try to consider ways of getting youth involved in the community. Victoria Hall already has many opportunities for youth involvement which is an exciting initiative that can be enhanced by his vision.

Whenever I’ve spoken with Antonio, I’m always impressed with his passion and drive to build community, to build bridges and to foster partnerships and liaisons with people and communities. I am most certainly looking forward to returning to Victoria Hall for its many events. If you ever see him on the streets of Cobourg or at Victoria Hall, stop and have a chat with him and you too will catch his passion and drive.