Dive right in to The Dixie Swim Club at Whitby Courthouse Theatre

This story was previously published on insidelookingin60

‘The Dixie Swim Club’ by Jessie Jones, Jamie Wooten, Nicholas Hope

Review by Joe Szekeres

‘The Dixie Swim Club’ is a comic and poignant story of five Southern women whose friendship began many years ago on their college swim team. Every August, the ladies set aside a long weekend to recharge their relationships and friendships. Sheree, Lexie, Dinah, Vernadette and Jeri-Neil are free from husbands, kids, jobs and occupations; they meet at the same beach cottage on North Carolina’s Outer Banks to catch up, to laugh and to meddle in each other’s lives for over thirty-three years in the course of the story.

Personally, the excitement of attending opening night for any community theatre is most appropriate and tonight was no exception. I was especially looking forward to this production. Why? Along with two talented veteran local performers (Raissa Chernushenko and Nancy Gleed) whose work I’ve seen, there are three welcome, new faces onstage - Sophie Dajka, Kelley Dewey and Sharon Morari.

A tremendous amount of preparation goes into WCT plays and musicals that make optimum use of the Centennial Building’s stage. This design for ‘Dixie Swim Club’ does just that, specifically in areas of set and lighting design.  Debra Smith, Greg Poulin and their crew members pay meticulous attention to numerous details. One could almost decide to rent out the WCT stage for the weekend as the sitting room of this cottage looked quite comfortable with personal and familiar touches everywhere, including the working ceiling fan. Acknowledgements to Julie Rutishauser and Debra Smith for the painstaking research in finding the right props and dressing for this cottage.

Mr. Poulin’s lighting design warmly focuses the mood and heightens the atmosphere of specific moments. Diane Cobbing, Monique Essegern and Donna Gunter finely accentuate these five uniquely different characters and personalities with appropriate looks in hair and costumes.

Director Eric Newton’s selection of a musical soundscape pre-performance and during scene changes brought back some fond memories for me. When I asked him at the intermission who had compiled the excellent selection of songs, Mr. Newton said he had researched online specific examples of Carolina beach music and these specific titles came up. Nice work here as many of the audience members around me were singing (and yep, I was too).

Several Durham Region theatres this season have selected ensemble plays to showcase the talents of performers. ‘The Dixie Swim Club’ is another example of an ensemble piece and, for it to work, these five ladies have had a lot of preparation to get to this point. During rehearsals, I’m sure Mr. Newton had to watch for a bonding of actors and to focus on the believability of character development. Along with these tasks, he would have to listen carefully and determine if the Southern accent is sustained naturally. Finally, he must monitor if the performances of these ladies are representative of the Southern US gentility and charm of the Carolina people. Quite the number of tasks to consider for 7-8-week rehearsal period.

Along with these tasks, ‘Dixie’ is also billed as a comedy. Do these actors create believable Southern ladies who deliver quick paced, razor sharp, and biting wit jokes and insults clearly and effectively?

Ms. Chernushenko and Ms. Gleed most certainly do so with gusto and flair. They delightfully command the stage as the flirtatious Lexie Richards and the cantankerous Vernadette Simms. Both actors carefully control and sustain their vocal levels and emotions in performance and don’t cross over the line into caricatures.

Ms. Dajka as tough as nails lawyer, Dinah Grayson, Ms. Dewey as former swim team captain and health nut, Sheree Hollinger and Ms. Morari as the sweet nun, Jeri – Neil, are competent performers who do hold their own in the comedy and poignancy of the play.  These ladies do not cross over the line into caricatures either.

There are moments from Dajka, Dewey and Morari, however, where I could neither hear some of their dialogue nor the punch line of some of their jokes. Since I sat in the last row of the house, enunciation and vocal tonality were not always crisp. I’m sure they will be mindful to pay close attention to these two elements as performances continue.

I am always intrigued by, and applaud males, who step forward to direct productions which deal with the emotional intricacies of womanhood. Can a man truly understand the emotional highs and lows of women and what makes them tick?  Robert Harling’s ‘Steel Magnolias’ is one indication of how a man can understand clearly how women behave.

Eric Newton was successful in his directorial vision as this opening night audience appeared to enjoy the play tremendously. No matter what life may throw at them, these sometimes feisty, sometimes bitchy, sometimes spiteful ‘Dixie Swim Club’ women know they can always turn to each other for comfort, support and a good zinger every now and then.

All performances take place at the Whitby Centennial Building, 416 Centre Street South April 19-21, 26-28, 2018 at 8 pm with a matinee April 21 at 2 pm.  Tickets are available at the door before each performance, call 905-668-8111 or visit the website for further information.

L-R: Sharon Morari, Kelley Dewey, Nancy Gleed, Raissa Chernushenko, Sophie Dajka.  Photo by Raph Nogal Photography

Theatre 3x60 changes name to Theatre On The Ridge

by Joe Szekeres

Bob Dylan sang, “The times, they are a changin’ “and it appears Theatre 3x60 is a changin’ with the times.

A recent press release states this unique, not for profit, professional theatre company has now become Theatre on the Ridge. I was intrigued to discover why the renaming.

Founded in 2013 by Carey Nicholson and Joan Etienne, Theatre 3x60 committed itself to enriching lives through theatre, on and offstage, by working with community partners and taking productions and programs to non-traditional venues such as schools, coffee houses, public libraries and other community venues.

“These four years of growth,” says Nicholson, “have given the company a clearer idea of who we are and how we can continue to serve artists and the community. We now have a bigger picture view of where we are headed.”

L - R: Carey Nicholson, Artistic Director and General Manager of Theatre on the Ridge, Amanda Klein, Summer Company Manager 2018 of Theatre on the Ridge

Over a cup of tea on a rainy evening, Ms. Nicholson says Theatre on The Ridge will continue to be an entertaining and innovative company that captivates on and offstage, supporting and impacting local communities through culture and community engagement.

“It will be good to have a name that reflects our unique rural location, on the Oak Ridges Moraine, as well as having that little play on words that speaks to our mandate for producing entertaining, edgy and challenging work, and our belief that theatre can provide new and unique perspectives on life.”

The rebranding to Theatre on the Ridge also means there is a new rehearsal and program space as the company partners with the Utica Memory Hall, 13990 Marsh Hill Road in Port Perry, southwest corner of Durham 21 and Marsh Hill Road. This home base will provide theatre education and community performance programs in such areas as stagecraft, playwrighting, production skills, staged readings and studio scale plays.

During our conversation, Ms. Nicholson adds that the newest Theatre on the Ridge team member brings a wealth of experience to this summer’s annual theatre festival.

Amanda Klein joins as Summer Company Manager, a full time six-month contract that allows her to oversee all the 2018 summer theatre festival productions and events under Nicholson’s mentorship. Ms. Klein completed an undergraduate degree in technical theatre production at Newfoundland’s Memorial University. Since completing her education, Klein has been employed annually at Grandbank Theatre Festival, Gros Morne Theatre Festival and Opera on the Avalon.

I have been fortunate to have seen several top notch and high quality professional live productions over the last four years through Theatre 3x60. The summer Festival 2018 repertory slate promises it will be well worth the drive to Port Perry. Casting has not been finalized, but there will be fresh faces along with returning company members from summer 2017.

The season opens July 5 with a production of Canadian Norm Foster’s ‘The Melville Boys’ directed by Carey Nicholson. Next is the children’s classic J. M. Barrie’s ‘Peter Pan’ opening July 11 with direction by Carey Nicholson.  The third production is Canadian Colleen Murphy’s ‘Armstrong’s War’ opening July 24 with direction by Carey Nicholson and Duncan Gibson-Lockhart.  August 1 will see the opening of the classic Tennessee Williams’ ‘The Glass Menagerie’ to be directed by Annette Stokes and Michael Serres. The fifth production is ‘The Drowning Girls’ written by Canadians Beth Graham, Charlie Tomlinson and Daniela Vlaskalic which opens August 7. Direction is by Carey Nicholson.  All these performances will take place at the Town Hall 1873, Port Perry.

And yes, there are more theatre events outside the Town Hall. Last summer’s highly successful ‘Pine Grove Plots’ by Graeme Powell with Paul Arculus returns once again, with direction by Michael Serres and Annette Stokes, and staged in downtown Port Perry and the Pine Grove Cemetery in Prince Albert. Opening is July 22. Finally, there is an original production of ‘Monsters and Milfoil: A Tale of Lake Scugog’ directed and created by this summer’s company of performers and staged at the Scugog Memorial Public Library which opens July 24.

For further information on ticket prices, all show dates, performance times and cast, visit their website. Tickets may also be purchased at the door before each performance.

Scarborough Theatre Guild's 'Cemetery Club'

Review by Joe Szekeres

Ivan Menchell's ‘The Cemetery Club’, concerns three Jewish widows, at various stages in their grieving process, who meet once a month for tea before going to visit their husbands’ graves. Lucille is feisty and just wants to have fun. Ida is ready to start a new life. Doris is still carrying the torch for her late husband and is critical of how the other two behave in public.

These ladies have been each other’s rock of support in dealing with the passing of their respective husbands until Sam, a widower, enters the picture.  The women must decide whether there is more to life than re-visiting and reliving the past.

This opening night production invoked many emotions in me thanks to Director Karch and Producer Larry Westlake’s solid visionary work in creating a sense of believability in the thrust stage performance space of the Village Theatre. Britt and Stephen Noll’s set construction and decoration beautifully enhance Ida’s living room on a slightly raised and sturdy riser constructed by David Widenmaier. The Nolls and their team have created a comfortable looking living room in Ida’s home complete with a plush couch and two chairs. Downstage, there is a stark reminder of the three husbands’ headstones.

Greg Hertel’s original NYC photos are stunningly gorgeous, and I wish I could have bought one or two of them.

Greta King and Larry Westlake are to be recognized for their precise attention to prop details. I hadn’t seen a silver standing ashtray for quite some time. The rotary dial phone was a nice touch. Since this story takes place in the 90s, I wondered why it would have been used. Although these women are trying to move forward, they need constant reminders of stability from their past.  The rotary dial phone in this case would have been a part of their deceased husbands’ lives too, and the women can’t part with it yet.

Nice musical soundscape selection by Messrs. Westlake and Karch at the top of the show, between scenes and to open the second act. Several audience members were humming or singing along with some of the tunes (and yes, I was too). Chris Northey’s lighting design is smooth and fluid and helps in the transition to each scene. Andra Bradish’s work in costume and Gloria Worman’s work in hair and makeup presented five uniquely different characters. I heard some ladies around me snicker at the style, look and colour of the bridesmaid dresses worn in the second act; however, given the status this is unseen friend Selma’s umpteenth wedding, it is comically plausible that the dressmaker might have run out of ideas.

L-R: Molly Lubell, Harry Hochman, Malorie Mandolidis, Patricia Byrne. Photo by Julie P. Adams 

‘The Cemetery Club’ is another example of a true ensemble play and I applaud STG for its selection as these five seasoned performers get a chance to shine. What intrigues me is the fact it was written by a male playwright who was twenty-five at the time, and who obviously understood the many emotions of womanhood. Director Karch obviously cared very much about this story as well, and his respect and affection for these characters and the performers are defined.

Molly Lubell, Malorie Mandolidis and Patricia Byrne endearingly captured my heart as Lucille, Ida and Doris. Their performances are realistic and true while they also throw in a touch of sassiness and a bit of bitchiness on the side. The return from the cemetery visit in the first act, and the return in the second act from Selma’s wedding is great fun to watch for their comic timing.   I’m sure rehearsals with these ‘Golden Girls’ and Mr. Karch must have always been in fine form.

As Sam, Harry Hochman captures a uniquely genuine persona of someone who is tired of feeling lonely and wants to rejoin the living once again. Mr. Hochman does not allow these gals to steal all the laughs whatsoever. One moment occurs as the ladies are getting ready to leave for the wedding, and Lucille makes her ‘grand’ entrance. Ms. Lubell’s uproarious flirtation with Mr. Hochman’s silent staring is wonderfully executed. The second moment occurs when Sam brings his date to the wedding (nice work by Susan Sanders as clingy, ‘uppity’ and ‘dressed to the nines’, Mildred).  The silent musical chairs game played to indicate how uncomfortable and awkward this situation has become is great fun to watch.

Final Comments – In his Director’s Notes, Mr. Karch writes ‘The Cemetery Club’ is a comedy, and yet might it border on television situation comedy?

Let’s face it – we need a chance to laugh today given the status of world events playing out around us. But in the comedy of ‘The Cemetery Club’, there is a reminder for all of us that we too will face great sadness, loss, hurt, fear and mistrust, as Mr. Karch writes, since life events will begin to take shape and unfold in our personal lives. I don’t believe any twenty-two-minute televised ‘sitcom’ in one episode can deal respectfully and truthfully with the issues listed in the Director’s Notes. Thankfully, this ‘Cemetery Club’ never borders into the realm of ‘sitcom’.

Presented by the Scarborough Theatre Guild at the Scarborough Village Theatre, 3600 Kingston Road Scarborough. Performance dates: April 7, 12, 13, 14, 19 and 20 at 8 pm. Matinees:  April 8 and 15 at 2 pm. Visit their website for further information or for on line ticket sales.

Girl in the Goldfish Bowl - Review by Joe Szekeres

Written by Morris Panych

Produced and Directed by Carolyn Wilson

Staged Managed by Christy Chase and Kathy Ennis

Set Design by Carolyn Wilson and Painting Design by Melanie Baker

Lighting Design by Phil Ireland

Sound Design by Margo Rodgers

Costumes and Make up by Tracy Rankin and Hairstyling by Maureen Howard

Staged by the Durham Shoestring Performers at Oshawa’s Arts Resource Centre (behind Oshawa City Hall) 45 Queen Street, Oshawa

Mr. Panych’s play is a rather quirky and, sometimes, oddball absurdist comedy. With hints of sadness mixed in, he reminds us that even oddballs have human frailties.

The Story (taken from canadiantheatre.com and the DSP release)

Set in a Steveston Cannery on the West Coast, ‘Girl in the Goldfish Bowl’ focuses on the home of a dysfunctional family which the mother continually threatens to leave. The point of view is that of Iris who is ready to make some sense of what she remembers as the end of her childhood, by remembering her ten-year-old self. In 1962 she was sure the death and subsequent flushing of her beloved goldfish brought Russian nuclear warheads to Cuba, caused her mother’s desire to escape an airless marriage, and delivered a promising mysterious stranger to their door all on the same day.  Harnessing all the hope and wit in her craft 10-year-old imagination, Iris is determined to manoeuvre her spinning world back from the brink of heartbreak.

The Opening Night Production

Carolyn Wilson and Melanie Baker’s respective work in set and painting design are the first indication we have entered a surrealistic realm within the intimate Arts Resource Centre. An azure blue wavy colour painted on the flats reminds us of calm yet rough waters the audience is about to embark on with the characters.

Kudos in finding two vintage 60s set pieces of the radio and the wooden oak drafting table to take us back to times gone by.

Margo Rodgers must have enjoyed the coordination and design of the various soundscapes. Selected 60s newscasts in hearing CBS’ Walter Cronkite speak of Russian warships headed to Cuba were a stark reminder of the fear that citizens would have felt at the time. Some of the 60s music brought a smile to my face.

The ladies’ hairstyling evoked vivid memories of the 60s for me courtesy of Maureen Howard’s assistance. Tracy Rankin found some vintage 60s clothing that worked well in establishing character. Phil Ireland’s lighting design is smooth, fluid and enhanced the various moods in progression from scene to scene.

Morris Panych has crafted carefully many dramatic elements in ‘Girl in a Goldfish Bowl’. Part memory play, part tragi-comedy with a bit of absurdist humour, sadness and angst all thrown in make this one challenging to stage as so much happens so quickly. The challenge for any cast, director and production team is to ensure one dramatic element does not overshadow another, but that they complement each other. I’m sure a great deal of discussion and work occurred during the rehearsal period to ensure this balance was achieved.

And these dramatic elements are balanced evenly here thanks to director Carolyn Wilson and her solid cast. In his plays, Panych creates oddball characters (‘7 Stories’ is only one example) but, for some reason, we feel an emotional connection to them. In ‘Girl in the Goldfish Bowl’ this five-member cast makes us feel a similar array of emotions.

As Iris, Amber Dawn Vibert moves from the adult to the young daughter in a captivating manner. Her high spirited, childlike energy, interspersed in an opening ‘to die for’ actor monologue, enchanted me completely. Ms. Vibert’s exuberance as she jumps up and down on furniture pieces, rolls or crawls around on the floor is highly impressive (and I’m sure exhausting for her after the play is over).  She has captured Iris’s precociousness and ingenuity with childlike appeal.

Jennie Archambault, as Iris’s mother Sylvia, has nicely captured in her performance a forlorn sense of what could have been in her loveless marriage to a man for whom she feels nothing. Mrs. Archambault emotional level builds to a conclusion that left me shocked. David Ross as Owen, Sylvia’s father, sadly finds comfort at his drafting table and dreaming one day of taking his wife to Paris. Mr. Ross has soundly captured that Owen is tired and fed up with his family life at home. He’s not happy, but he’s not sad. Pay close attention to how Ross uses his body language and shoulders to heighten his emotional intensity.

L (in chair):  Paul Love,   C:  Amber Dawn Vibert   R: David Ross. Photo by Phil Ireland

Natasha Noble, as the border Miss Rose (and godmother to Iris), is testy, irritable and critical of all that is going on around her in the house. According to Iris, Miss Rose smells like halibut given the fact she works in a cannery every day. The only happiness Miss Rose has is either going to the Legion, drinking and making out with all the veterans or putting the moves on Owen or the arrival of a strange man, Mr. Lawrence, at the house. Ms. Noble captures credibly the bravado of Miss Rose on the outside and the hurting on the inside with believable flair.

Paul Love’s work as Mr. Lawrence, the stranger whom Iris believes is the reincarnation of her dead goldfish, is profoundly impressive. I don’t want to spoil the plot, but Mr. Love takes several risks in his performance and they pay off tremendously as a very important lesson is learned through Mr. Lawrence - not everyone who is peculiar is insane especially if he is able, hopefully, to bring a family back together.

Final Thoughts

The Durham Shoestring Performers are well known to present edgy, dramatic material that will always challenge audiences and actors to discuss and to think. This DSP production of ‘Girl in the Goldfish Bowl’ does just that. The play presents us with characters who are ‘charmingly odd’. It is in meeting them that we see how their human frailties are not so different from our own.

Cast (In alphabetical order):  Jennie Archambault, Paul Love, Natasha Noble, David Ross, Amber Dawn Vibert

Opened: March 23, 2018 at 8 pm.

Other performance dates: March 24, March 28, 29, 30 at 8 pm.

Closing: March 31, 2018 at 8 pm.

Running Time: 2 hours and 15 minutes with one intermission

Tickets may be purchased at the door at 7:30 pm before each performance or visit www.durhamshoestring.org for further information, Facebook: Durham Shoestring Performers

Whitby Courthouse Theatre audition call for 'Next To Normal'

By Joe Szekeres

And what is ‘Next to Normal’?

Just ask local Durham Region community theatre actor, Shael Risman.

“Next to Normal’ is musical theatre, but it is more than that. It is a discussion and awareness about mental illness, and how important this story is in talking about this disease and giving people permission to laugh and cry and talk about it, and not shy away from it.” he says over the phone.

Risman will be making his directorial debut with the Broadway musical staged by the Whitby Courthouse Theatre at the Whitby Centennial Building. The play is opening November 2018.

‘Next to Normal’ is not your traditional style Broadway musical as it deals with the serious subject matter of mental illness, a far cry from the boy meets girl, boy falls in love with girl, happy ending. For Risman, this musical is a challenge for him and his dedicated production team. He hopes that anyone who has ever considered getting involved in a local community theatre play, either on stage or as crew, would consider auditioning for him or volunteering behind the scenes.

To answer why any interested people should consider auditioning for this musical or getting involved in backstage work, Shael further added that he has “a personal life long mission to enlighten, educate as well as entertain, and I take this very seriously.” Bravo!

This, my friends, is the reason why I have stayed involved in the local community theatre scene for over thirty years as an actor, director, crew member and writer. Each of us, from performer, to production team member and backstage crew, has an obligation to enlighten, to educate and to entertain our audiences every time a play is mounted, and we are to take this obligation seriously.

It is true the audition process is nerve wracking as an actor prepares for it in so many ways. What song should I select? Is it in my proper vocal range? How long should I practice it? Will there be an accompanist or am I to provide my own music? What if I don’t sing it well in front of the selection team? Yes, these are legitimate questions and yes, I’ve been there, Shael has been there, and music director Nick Denis has been there as well.  Sometimes we do make a callback, sometimes we don’t. Sometimes it might boil down to us and another person, and the other individual receives the role. Yes, there is the let down if one is not cast. I remember these feelings, Shael and Nick also recognize these feelings as they too have been there and have been turned down.

But, it is the fact we have taken initiative and wanted to prove to ourselves that we will give it our best shot, try it and see what happens. Yes, it is the adrenaline rush, the excitement, the apprehension, this all goes hand in hand with the audition process.  Is it worth all of this? Yes.

Working backstage, behind the scenes (costumes, set building, painting lighting etc) are all key areas where volunteers are needed. Sometimes, close friendships are made in volunteering either onstage or backstage. We are all linked and bonded by a common thread; the love of live theatre, performance, and sharing that love with local audiences.  What better feeling is there than this?

I heartily encourage anyone who would like to get involved in a musical to consider auditioning for ‘Next to Normal’ or volunteer backstage to make the magic come alive. Where can you get further information about this production? Visit their website for further information on what you need to prepare. Auditions will be held April 22, 23 and 24, 2018 at the Whitby Courthouse Theatre, 416 Centre Street South. For further information or questions, please contact n2nproducerwct@gmail.com.