Joe Szek, Borelians in Port Perry have a home full of hope

HAVING HOPE AT HOME
Produced by Kyle Brough and Directed by Helen Coughlin

By Joe Szek

This season, the Borelians of Port Perry have selected stories that have touched our hearts and souls, and David S. Craig’s ‘Having Hope at Home’ is a gentle reminder of just how important family is to each of us no matter what occurs in our lives.  Not only do we have a chance to laugh at what happens before a baby is born, but also we are brought to tears in being reminded that the arrival of a newborn infant signals an opportunity for a fresh start for everyone.

Michel Charbonneau and Carolyn Bingham (played convincingly by real life and charming husband and wife Kyle and Justine Dickie) have moved away from the rush of Canadian urban life to live on the old Bingham family farm (complete with peeling wallpaper and out dated but comfortable furniture) with their eccentric grandfather (a hilarious Howard Linscott), where they plan to raise a child and run a dairy business. Together all three find solace in tradition and inspiration in each other.  On a winter night, Michel and Carolyn’s baby is about to arrive. But modern medicine meets midwifery head on in a torrent of family feuding headed by stuffy, pretentious and over protective parents Bill and Jane Bingham (played so skillfully by David Geene and Joanne Norman that we want to get up on that stage and cuff them).  As tensions rise between three dysfunctional generations, it takes the baby’s arrival with the midwife (a nicely grounded performance by Carolyn Goff) to heal the rift in this funny, heart -warming story of forgiveness. 

There are so many individuals behind the scenes to make community theatre pulse and, in this production, these selfless people have given of their time to ensure this play is a success.   Subtle touches within the set and use of props strongly indicate to the audience how drafty this farmhouse must have been, complete with the plastic over the windows and the periodic sound of the howling wind.  It is clearly obvious that director Helen Coughlin was taken with the emotional impact of this story and has not turned it into a simple ‘sitcom’ we might find on television today. Instead, she has worked tirelessly with each cast member to ensure flesh and blood humans emerge from the comedy, the drama, the pathos, the arguments, the discussion and finally the conclusion where we learn the baby will be named Hope in the midst of all this confusion.

There were some poignant moments deftly handled with great care.  Two of them occur in the second act.  The reconciliation between father and son of Russell and Bill Bingham (Messrs. Geene and Linscott) out in the woodshed where the son believes his father has set out to die in the cold employs just the right amount of human compassion and kindness while mixed with some funny one liners.   As diminutive midwife Dawn Shaw, Carolyn Goff’s silence as she stands up to the towering David Geene says plenty without saying anything.

In his program notes, producer Kyle Brough describes community theatre as participating and seeing the thrill of something alive and breathing and within reaching distance that will only exist for the few fleeting hours that it is happening right in front of us.   Make your way to Port Perry’s Town Hall to see ‘Having Hope at Home’ and to breathe in this ‘live’ excitement as it plays out in front of you.
 

A Home Full of Hope runs February 25, 26, 27 at 8 pm and February 27 at 2 pm. at the Town Hall, 1873, in Port Perry.

Joe Szek, Looking at Ajax Community Theatre

LOOKING By Norm Foster
Produced by Mark Salonius and Directed by Eric Newton

By Joe Szek

Many of Norm Foster’s comedies always hit the right notes for audiences especially in the dull and dismal month of February.  His plays are staples among community theatre groups because Foster creates believable characters in their raw, visceral state.  Actors like his comedies because there is always a clear arc of development that is intriguing to explore.

What is appealing about Ajax Community Theatre’s production of ‘Looking’ is this cast, at the beautifully restored St. Francis Centre, has found all of the laughs (quite adult and ribald at times).  Thankfully, these four seasoned actors from Durham Region never upstage each other.  Once again, it has been a pleasure to see fine ensemble work gracing the many performing stages in the Durham Region, and ‘Looking’ can be counted up there with them.

‘Looking’ is the story of four middle-aged singles who, initially, are quite shallow in character while talking about possible future partners and spouses.  In truth, all four are lonely people who are obviously searching, yearning and longing for stability in their lives.  As the play progresses, we learn just how shy, scared and vulnerable the four of them are when the veneer is stripped away. 

Nice guy, Andy (affably played by Dave Edwards) is looking to meet someone who isn’t interested in “head” games.  HIs buddy, Matt, is the exact opposite as he is only into sex and then moving on.  Ray Porrill delivers an engaging performance through many of his funny one-liners with Edwards as they talk about women and relationships.  In Act 2, Porrill displays his talent when he finally does reveal his feelings to the sassy, single cop, Nina (saucily played by Shari Thorne) who reveals in the second act just how powerless she is in some of her failed relationships.  Finally, there is Val (Nancy Palumbo), the nice, divorced OR nurse who is also looking for a solid relationship since she hasn’t been with a man in over six years.  Ms. Palumbo makes us feel so many emotions for her in the struggles that Val has endured these last six years.  All four of these characters meet on a blind date and the play follows their progress through the following weeks.

Foster’s quick paced, snappy dialogue is handled magnificently by each of these four skilled actors.  It’s crisp and clear especially in the closing moments of the first act where each character is on the phone talking to one other.  I’m almost certain that section alone would have been rehearsed many times.  The sparse set, save for a table and chairs, is effective as ‘Looking’ has to move quickly to show the passage of the time within the weeks of the story.  Many of the audience members (myself included) were either humming or singing along with the songs during the scene changes.

In his Director’s Note, Eric Newton states“everyone is always looking for something…not necessarily in all the right places.” Sometimes when it comes to matters of the heart, even when we are in our 50s, we can still feel like that shy, awkward teenager who doesn’t know how to respond to feelings.  It was clearly obvious these four actors are having a lot of fun during the performance, and you should also get yourselves to the St. Francis Centre as well to have some fun with this talented group of people.

"Looking" runs February 18, 19 and 20 and 25, 26 and 27, 2016 at the St. Francis Centre, Church Street, Pickering at 8 p.m. There is a matinee at 2 p.m. on Feb 21. 

Joe Szek gets Spamalot at the Whitby Courthouse Theatre

SPAMALOT, THE MUSICAL
Produced by Deb Smith and Vivian Tattire
Direction by Monique Essegern with Musical Direction by Ted Niles

by Joe Szekeres

If you haven’t purchased your tickets as of yet, here’s hoping you’re not out of luck.  Try, try and try  to see this one before it’s gone!   ‘Spamalot’ the uproarious musical comedy opened February 11 at the Whitby Courthouse Theatre with a cast of eighteen energetic individuals that it is difficult to mention each by name.  Even if you’re not a fan of Monty Python, go and see the silly, goofy and zany antics of this talented group of performers.

To pull off musical comedy of this nature requires individuals with a sharp and keen vision who ‘get’ it.  In the able -bodied hands of Monique Essegern and Ted Niles, this production moves at break neck lightning speed. I was fooled in learning there is no orchestra in this production.  The use of musical tracks is truly effective.  The entire production team behind the stage (and there are A LOT of them) must be commended on every account, as this production would not be successful without them. 

Python fans know the plot.  The foolish King Arthur (nicely captured by Christopher Sharp who uncannily reminds us of Tim Curry, the original Broadway Arthur) travels around England with his loyal Patsy (an amusing Boyd Tattrie with his trusty coconut shells) recruiting his Knights of the Round Table. When he and his band of misfit knights finally gather in Camelot, they receive a charge from God to find the Holy Grail. The quest brings King Arthur and the Knights of the Round Table to strange places and into the company of strange characters, challenging them to keep their heads on straight or die terribly weird deaths.

The supporting actors, who have the daunting task of playing many quick roles as an ensemble, have clearly rehearsed countless hours to maintain realistically the ‘off the wall’ and bizarre nature required for this musical.  It is refreshing to see new faces on many of the stages around Durham Region this season, and this production showcases a number of them.  Georgia Grant as the Lady of the Lake blows the roof off the Centennial Building with that powerhouse voice.  As Sir Robin, Scott Currie reminds us cheekily that in order for a musical to succeed on Broadway, you’ve got to have some……(I’m not going to tell you what is needed as you’ll have to go and see the production for yourselves).

While leaving the theatre, many of the audience were either singing or humming “Always Look on the Bright Side of Life” which can be heard in another successful Python film ‘The Life of Brian’.  When you get the audience humming and singing, then you know you’ve a winner on your hands especially in this cold month of February.  Get tickets to see this ‘Spamalot” before it’s gone because I guarantee they will move quickly.  By the way, how long did it take to build that Killer Rabbit?
 

SPAMALOT, THE MUSICAL runs February 11 -13, 18 – 20, 25-27 at 8 pm at the Whitby Centennial Building 416 Centre Street South

24 hours, six plays, one castle, Curtain rises Mar 11 on Driftwood's Trafalgar 24

Whitby's Trafalgar Castle will host the 13th annual Driftwood Theatre's fun fundraiser and gala. 24 artists have 24 hours and one castle to create and perform new site-specific plays. There will be six ten-minute plays presented live to an audience that will move through the historic building and view each performance the evening of Mar. 11 2016. Participating playwrights are Steve Burley, Kevin Craig, Sophia Fabiilli, Laura Anne Harris, Paul Van Dyke; Michael Shamata (Artistic Director, Belfry Theatre, Victoria) will join the overnight writing session remotely from Victoria B.C. Actors involved are Mary Kronert, Christopher Darroch, Jessica Greenberg, a founding member of Studio 180, Michael Hanrahan, a founding member of Soulpepper, Doug. E. Hughes, James Dallas Smith, Adriano Sobretodo Jr., a founding member of Summerworks, Hallie Seline, Louisa Zhu, Mandy MacLean and Trevor Pease. Directors are Marcia Kash, Heather Davies, Kevin Hammond (founding Artistic Director, Humber River Shakespeare), Alden Adair, Yolanda Ferrato and Cameron Johnston. Keep in mind that not only are the plays written in the 24 hour period but also presented and performed. This really is a showcase of skill, wit and agility on the part of all involved.  There will be a wine, cheese and dessert buffet and a silent auction at 6:30 p.m. and plays begging at 7:30 p.m. Tickets are $60, or $100 for a VIP experience. Trafalgar Castle is located at 401 Reynolds Street.

C’est si beau LES BELLES SOEURS! - Review by Joe Szekeres

By Joe Szekeres

Produced by Graeme Powell and Directed by Carey Nicholson

The last few seasons at the Oshawa Little Theatre have been an eclectic collection of productions ranging from ‘The Miracle Worker’ and ‘The Diary of Anne Frank’ to modern musicals such as ‘Mary Poppins’ and ‘Jesus Christ Superstar’.  It has been a wise decision to produce this vast array of plays as local audiences, once again, can be immersed in these stories from by gone eras.  Michel Tremblay’s ‘Les Belles Soeurs’ is one such work reflective of a specific time frame that Canadian audiences will remember and recall with mixed emotions.

According to The Canadian Theatre Encyclopedia, “ Les Belles Soeurs set off a storm of controversy when the play premiered in Montreal in 1965.  La Belle Province was releasing itself from staging religious and morality plays and joining late in the Quiet Revolution.  The use of the joual vernacular associated with Canadian French language AND the dare to portray normal, working class women doing working class things were raucous and somewhat vulgar techniques to see live.  The play also went after men and did not present them, at times, in the most favorable light.”  By today’s standards this impact is nothing special, but why should audiences see Tremblay’s most produced work? Go to the Oshawa Little Theatre and see this piece for the fine, dynamic and powerful ensemble work as this production, both on stage and behind the stage, represents what community theatre is all about.

Germaine (Carmel Warman) a Montreal housewife, has won a million Gold Star stamps and has invited all the women she knows to come over and help her stick them into the booklets. As they stick, the women discuss the men in their lives, the church, and their accomplishments in life whether it be a trip to Europe or simply surviving another day in a family that demands so much of their attention.  Germaine does not realize until the play concludes that, while the women are talking, they are also stealing her Gold Star stamps. 

For purposes of this commentary, it is difficult to mention each by name but, suffice it to say that director Carey Nicholson and these fifteen women have captured beautifully the bold, bitchy and saucy French Canadian woman of the 1960s who had to carry so many burdens on her shoulders as numerous husbands and boyfriends were either complete oafs or idiots.  It was a pleasure to see the diverse array of talent on stage from those who have years of experience in local theatre and those who are just beginning.

The dramatic monologues, where some of the women step forward and break the fourth wall to allow us to enter their lives further, are carefully and effectively staged with a lone spotlight as the other women on stage remain in tableaux.  Barb Clifford as Rose delivers a knock out monologue in the second act that is poignant, passionate, sad and infuriating as we learn how much her husband is a complete buffoon.  Two choral passages (that would require a great deal of rehearsal time) involving the women’s love of Bingo and their world of watching television at the end of their day were so much fun to watch, to hear and to listen.

The set for this production, Germaine’s kitchen and living room, is reminiscent of the cold water flats of working class Montreal in the 1960s complete with the hideously mismatched furniture dolled up with doilies thrown askew over the back of the chairs.  That kitchen needed a good clean up with a scuffed up refrigerator ice box and kitchen table and chairs that were nearly about to collapse.  Nice touches on the set.  Nice collection of costumes from the dowdy, frumpy and blousy to the colourful ‘go go dancer’ look.

The 60s evoked definitive changes in the history of Canada and, especially in Quebec, where ‘maitre chez nous’ was a sign that such changes were inevitable.  As Ms. Nicholson states in her program notes, “Les Belles Soeurs is a search for female identity and what new identity will emerge in the aftermath.”  Get yourselves to the Oshawa Little Theatre for an evening of provocative live entertainment.