Girl Power front and centre at OLT's production of Legally Blonde

LEGALLY BLONDE, THE MUSICAL
OSHAWA LITTLE THEATRE

Produced by Liz Pask, Musical Direction by Michelle Morrow, Staged Managed by Amanda Cook, Choreographed by Shari Coulter, Directed by Janet Gilliland

I can’t recall much about the film version of LEGALLY BLONDE except moments of a very blonde and young Reese Witherspoon as Elle Woods and Victor Garber as sleazy law professor Callahan.  I remember some interesting camera shots of the Harvard Law school campus and thought it would be a treat to walk those hallowed grounds. With this sparse information, I didn’t know what to expect with the musical.

Critic Ben Brantley of the New York Times called LEGALLY BLONDE, THE MUSICAL “high energy and empty calories…to the glories of girlishness” and ya know what, Mr. Brantley?  There’s nothing wrong with some empty calories now and then. 

Sorority fashionista ‘valley girl’  (wow, am I showing my age) Elle Woods (an endearing performance by Nicole Daniel) is unceremoniously dumped in a restaurant by her superficial boyfriend Warner Huntington III (a slick Derik Gould), who is looking for something more serious than Elle can provide.  Warner later learns that looks do not always get what you want.

Out of ‘love’ and a desire to win him back, Elle follows Warner to Harvard to attain a law degree. Then there is the subplot of Elle’s internship under Callahan’s guidance to help sorority sister, Brooke Wyndham (Shelby Cunliffe) out of the murder trial of her pool boy. The plot is improbable, but so what? There is boundless high energy and youthful exuberance to entertain us on the Oshawa Little Theatre stage to April 22 and, in this respect, it’s ok to indulge.

In her Programme Notes, Director Janet Gilliland says her key production team of Producer Liz Pask, Stage Manager Amanda Cook, Choreographer Shari Coulter and Music Director Michelle Morrow all shared the same reason why they wanted to be involved in this production.  Pink is power.  Girl power lives on in this musical. This production team has worked extremely hard on this show for over a year, and their dedication to and love of this musical is clearly revealed in the painstaking attention to detail in many areas of work on stage and behind the scenes.

Colin Huges’ lighting design is smooth and fluid.  Sound design by Alex Konc is crisp and clean. Once again, props to Costume Designer Amy Lawrence and her selfless team who spent, I’m sure, countless hours of preparation to clothe the 34 performers where some had played up to three individual characters.  I was pleased to see that the Set Construction and Decoration team headed respectively by Zach Unger, Steve Gilliland and Liz Pask assembled pieces that were easily maneuvered by actors since pacing and safety are of utmost importance when sets have to be in place quickly.  I was amazed how the grand sorority staircase, which opens the show, was only used twice and then never seen again.

Photo courtesy of Ralph Nogal Photography

As in all musicals, pacing is of utmost importance to keep the plot moving along.  For me, one sticking point in pacing occurs if the audience has to work at deciphering lyrics to songs if the orchestra is too loud. Periodically, in this production, the sound balance between the orchestra and actors is overpowering and this slows down the action. The audience has to do double duty to hear the clever lyrics that add to the plot.  I’m positive this slight exception will be rectified at the next performance as the audience wants to be in on the fun with the on stage action.

Nicole Daniel is delightful as the bubbly, bouncy Elle Woods. By the end of the play, we root for her as she has learned that it is a fine for a woman to be independent.  After Elle is embarrassed for wearing the wrong clothing to class, nice guy and law teaching assistant Emmett Forrest (a plausible performance by Chris Cullum) wants to help Elle fit in.  It is the nice guy in this respect who wins in the end.

As unscrupulous and sleazy law professor Callahan, Phil Cook is solid as a hard nosed, no nonsense instructor in “Blood in the Water”. Although its context is blatantly sexist, Elle’s ‘Greek Chorus’ friends Margot, Serena and Pilar (Kayla Tripp, Mikayla Gilliland, Laura Murphy) deliver uproarious laughter and amusement in the importance of learning to “Bend and Snap”. Donna Lajeunesse is enjoying herself tremendously in the dynamite character role of Elle’s confidante hairstylist and manicurist, Paulette Buonofuonte. Most assuredly, Ms. Lajeunesse can belt a tune and it’s always a pleasure to hear her sing. Dressed in dark colours, Mary Soln as Vivienne Kensington becomes a comedic, threatening foil of bitchiness contrasted with the colourful, spring like stylish elan of Elle. The ensemble players are a lively, vibrant mixture of performers ranging in age from late teens up to someone in his early 80s who are relishing in the moment of making audiences laugh.

LEGALLY BLONDE, THE MUSICAL continues at the Oshawa Little Theatre, 62 Russett Avenue April 13, 14, 15, 20, 21 and 22 at 8:00 pm.  Tickets may be purchased at the door or visit the website for further information.

Beech Street Theatre Company begins with 'Death Certificate'

On Saturday March 25, I attended a performance of two Canadian one-act plays presented by Beech Street Theatre Company in their new home of Whitby’s Abilities Centre. Kudos are extended to this company for giving local actors an opportunity to participate in the one-act play format.  

DEATH CERTFICATE, by Beech Street founder Michael Khashmanian, is the story of a man who has slipped through the clutches of death during an operation only to find that his life has changed forever as a result.  ALL TOGETHER NOW by Sunderland resident and actor/writer Graeme Powell is billed as ‘interventionist’ comedy.  If you could speak to the last person before you die, who would it be?  Mr. Powell’s script was the first one act inauguration of the Durham Minifest at the Port Perry Town Hall In August 2016. I never saw this cast perform the script so I was most thankful that I had the opportunity.

There is promising talent in this company and, as further opportunities open up for auditions and performances, I’m certain this group will continue to showcase local residents from this region.  The theme of death that permeates both scripts can sometimes be a tricky one to sell to audiences, but all actors appear up for the challenge in wanting to present quality work.

Performers in DEATH CERTIFICATE are Michael Khashmanian and Catherine Speiran.  Michael Khashmanian directs the production.

The original performers of ALL TOGETHER NOW from The Durham Minifest returned for this production.  They include Derek Barber, Paul Dobbs, Dillon Hunter, Kit Greaves, Julie Jarrett, Cheryl Tulloch-Van Vilet and Beth Whalen.  Ian Speiran directs this production.

Both one acts plays continue at Whitby’s Abilities Centre, 55 Gordon Street, 2nd floor at 7:30 pm March 30, 31 and April 1.  Tickets may be purchased at the door.  For further information, visit their Facebook Page:  Beech Street Theatre Company.

L-R: Paul Dobbs, Kit Greaves, Derek Barber
 

Durham Shoestring Performers' Dead Metaphor comes alive on stage

DEAD METAPHOR by George F. Walker
DURHAM SHOESTRING PERFORMERS
Produced by Carolyn Wilson, Directed by John Lunman, Stage Managed by Tracy Magee-Graham

The intimate performance venue of the Arts Resource Centre lends itself well to daring, in your face live theatre since the action takes place just metres away from the audience. George F. Walker’s DEAD METAPHOR opened the final DSP show of the 2016-2017 season, and this production is a top notch and in your face one. It will make you think, it will make you feel uncomfortable, it will surprise you, it will shock you and it will haunt you long after it is over.

DEAD METAPHOR is described in Director John Lunman’s Program notes as a scathing political comedy about the collision of values between left and right, rich and poor, male and female.  His vision in staging and direction is clean, crisp and clear. Having a former sniper as the central character does certainly set up a comedy of a darker nature.  Especially in this era of ‘The Donald’, DEAD METAPHOR is a challenging one as it deals with sensitive issues of The Taliban, mercy killing, blistering and foul language and political double speak.  

Former sniper Dean Trusk (Joseph Lauria), who suffers from PTSD, is a boiling pot of insecurity, fear, revenge and spite and on the brim of eruption when we first meet him in his social worker’s office. Dean can’t find meaningful work at all as the only work he knows is how to kill people. Joseph Lauria’s intensely controlled performance draws us in immediately, as we want to know and to hear what happened to Dean overseas.  

As social worker Oliver Denny, Paul Love captures realistically the fine line of professionalism that he can’t cross of counselor and client versus his disgust in realizing what Trusk is capable of doing.  And yes, there is humour in the opening scene especially in those double take moments as Mr. Love listens to Mr. Lauria and realizes the seriousness of this former sniper. This laughter stems from hidden fears within all of us.  How much do we really know about another human being to the point where he is able to wipe us out in a span of a second?

An absurd nature of DEAD METAPHOR is also revealed in the personal relationships both Dean and Oliver have with others. It is here where we see the unraveled connection of male and female relationships in Walker’s world.  

Oliver’s marriage is clearly strained when we first meet his wife, Helen (a home run ball park performance by Kristi Lauria) who is running for political office and is determined to do whatever she can to win this election.  The uncomfortable silence (which borders on the hilarious) in the restaurant where they have met to eat dinner clearly says everything about their marriage without saying anything.  Helen is extremely smart, competent and wily to achieve whatever she wants, and Mrs. Lauria’s performance is a standout especially where she uses political double speak.  Think federal PC leadership hopeful candidate Kellie Leitch as you watch Mrs. Lauria.

Dean’s home life fares not well, and we witness the inherent drama in which he lives. Jenny (Amber Dawn Vibert), Dean’s ex, soon to be wife again, carries his child.  Ms. Vibert plays Jenny with a childlike innocence combined with street-smart confidence and a dash of sass on the side. Dean’s tempestuous relationship with his parents is then slowly stirred into this boiling pot of insecurity.  Hank Trusk (a highly skilled performance by Craig Martin) has been diagnosed with an inoperable brain tumour. Mr. Martin deftly moves us emotionally on many levels as we begin to see the cancer swiftly invade his body, his voice and his speech.  Hank also carries the fear of losing his son again when he has to return overseas, and the reality of this moment is truly heartbreaking.  The only character that appears to have any sense of decency is Frannie Trusk, and Jane Hickey delivers a performance of tremendous depth of character.  Like Mr. Martin, Ms. Hickey moves us emotionally when she is at her breaking point of trying to care for and watch over her dying husband.  

L to R: Kristi Lauria, Craig Martin
Photo by Phil Ireland

The final moment of this production of DEAD METAPHOR is cleverly staged as two of the actors enter the audience.  I don’t want to spoil it here, as you do need to experience it yourself.   You will have questions, you will be challenged to confront your own views of right and wrong and you may feel a tad uncomfortable.  But that, my friends, is the reason why we participate and go see live theatre.

DEAD METAPHOR continues March 29, 30, 31 and April 1 at 8 pm at Oshawa’s Arts Resource Centre, 45 Queen Street behind City Hall. Tickets may be purchased at the door before each performance. Visit www.durhamshoestring.org for further information or to purchase tickets on line.  

Social lessons in Theatre 3x60's performance of 'Toronto, Mississippi'

TORONTO, MISSISSIPPI by Joan MacLeod
Directed by Joan Etienne
With Carolyn Goff, Graeme Powell, Michael Serres, Nicole Vezeau

Not only is good live theatre meant to entertain us, but also it must make us think, consider, ponder and react.  The Durham Region theatrical 2016-2017 season has certainly presented plays that have made us feel a myriad of emotions, and Theatre 3x60’s presentation of Joan MacLeod’s TORONTO, MISSISSIPPI is one which makes us examine closely those in our world who are seen as different.

The title of this play has always intrigued me on why Ontario’s capital city is somehow connected to an American state. I completed some research for clarification and discovered some relevant social justice and human issues about the plot.   TORONTO, MISSISSIPPI looks at the changing dynamics of male/female relationships and the emergence of the one parent family.  As well, Ms. MacLeod worked with intellectually disabled adults and children for over a decade as a life skills instructor, and therein lays the tremendous respect the playwright and Director, Joan Etienne, hold for these unique individuals who have their own abilities and challenges in coping with the struggles of daily life.

Further research revealed that the central character, Jhana, is based partly on a friend of Ms. MacLeod’s who is a ‘very lovely woman’ with mental challenges.  In seeing Theatre 3x60’s fascinating presentation of this story it still puzzles me how, in our supposed advanced twenty-century world of acceptance, we still use labels to define individuals.  By the conclusion of the play, we recognize that some may always see any disability as a challenge; however, as the playwright points out in her author’s note at the beginning of the script, Jhana and all who are labeled as handicapped also bring great joy.  Keep in mind, however, that at times this joy is sometimes overshadowed by this story’s vitriolic and spiteful language.

Joan Etienne has cast this production extremely well. Nicole Vezeau plays the eighteen-year-old Jhana with admirable passion and significant stamina.  There are moments of heightened physicality in her performance and I wondered where Ms. Vezeau finds the strength.  To understand Jhana meant that Ms. Vezeau had to trust herself and her instincts and let go.  It doesn’t matter if there is any handicap because, as humans, we all want the same thing – acceptance, love and connection.

As the single mother and high school teacher Maddie who probably had to endure a great deal of loss and despair in raising Jhana on her own, Carolyn Goff delivers a tender and vulnerable performance as a woman who has seen it all, heard it all, and endured it all and then some.  But all the while, Maddie never, ever, gives up hope for her daughter.  I’m sure Ms. Etienne would have had many discussions and dissections with Vezeau and Goff to juxtapose those instances of intense familial connection of love and spirit between mother and daughter versus those moments where our hearts break on account of disconnection and anger in the characters.

Michael Serres and Graeme Powell convey solid and realistic performances as the two male influences that are truly changed by the story’s events.   Thankfully these two men are grounded and never venture into token, stock male creations.  Serres opens the story as King, Jhana’s father and has-been Elvis impersonator, in performance at one of his ‘gigs’.   Behind the bravado of the King of Rock and Roll that he carries into his personal life, it becomes apparent that ‘King’ is a very sad man who has had to endure disappointment after disappointment. His relationship with his ex, Maddie, is strained even when he wants to maintain ties with their daughter, Jhana. Mr. Serres internalizes this sadness through his eyes, which makes his performance intriguing.

As Bill, the morose poet, lecturer, writer and boarder who lives with Maddie and Jhana, Graeme Powell’s performance is endearing and this makes us like him immediately.   Bill spends quality time with Jhana; he listens to her, talks to her and treats her in the same way as he would treat anyone else.  King disdains this quality character trait in Bill, which leads to some incriminating cuts and jabs with horrible accusations near the play’s end.  And yet, we never want to lose faith in Bill because we believe him, we like him, we know he is a good man who has a sense of identity and who he is while Maddie and King are always struggling to find theirs.

Theatre 3x60 is on the move with this production of TORONTO, MISSISSIPPI.  According to their website, the company tours a socially relevant Canadian play to schools and to community venues across Durham Region in its mandate to make live theatre accessible to all.  TORONTO, MISSISSIPPI will perform at the following locations:

March 24 at 7 pm at the Act One School of Drama, 1775 Plummer Street, Pickering.
March 30 at 7 pm at the Scugog Memorial Public Library, 132 Water Street, Port Perry
April 6 at 7 pm at the Oshawa Public Library McLaughlin Auditorium, 65 Bagot Street.

Donations for each of these performances is Pay What You Can with a suggestion of$20 at the door before each performance. For further information, please visit www.theatre3X60.ca. 

Durham Shoestring's Dead Metaphor opens Mar 24 2017, multi-talented John Lunman directs.

Local actor and director John Lunman has had his plate full this theatrical season with involvement in a number of productions in the Durham Region:  Jenny’s House of Joy at Northumberland Players; Vanya and Sonia and Masha and Spike at Borelians in Scugog; and this summer, Dracula at the Peterborough Theatre Guild.  

At the end of this month, he will direct George F. Walker’s DEAD METAPHOR for the Durham Shoestring Performers.  

For 43 years, DSP has presented the most challenging and cutting edge plays in the region.  It is a director driven company under the astute artistic direction of Carolyn Wilson who keeps the passion burning for good theatre from all countries, but with a particular emphasis on our own Canadian playwrights who are not so well represented in the seasons of other local community theatres.

George F. Walker is arguably one of Canada’s best-known playwrights with over 35 plays to his name along with several television series.  He originally answered an advertisement for new playwrights posted by Factory Theatre in the early 1970s, and his writing started a new era in Canadian plays.  Until then, most Canadian plays dealt with a rural existence set in the western prairies.  Walker turned that on its head by writing about urban characters of whom many were based on the people he grew up with in Toronto’s East end.  He loved to write about the poor and the marginalized in society and showed them to be heroes in their own lives, if slightly comic heroes, who didn’t quite know what to do and often did the wrong thing or the right thing by accident.

His latest work, although still urban in nature, no longer references Toronto specifically, and his themes and characters now echo the lives of urban poor and rapidly failing middle class of any major metropolis.  DEAD METAPHOR deals with the plight of returning soldiers who, having served their country, now struggle with PTSD and lack of meaningful work.  What can you do when your main skill is killing people from a distance?

Walker’s works have always been political but DEAD METAPHOR, although written long before the 2016 U.S. presidential election results, certainly foreshadows such a political aspirant in the role of Helen, the play’s right wing politician  

DEAD METAPHOR is a scathing political comedy about the collision of values between left and right, rich and poor, male and female.  It is a Walker trait that his female characters are always much smarter than the males around them--and often far more deadly.  Having a former sniper as the main character is certainly a comedy of a darker nature.

 Audience members are warned the language in this play is very harsh and at times blistering.  The play will cause you to question your beliefs about right and wrong.  Given Walker’s penchant for the ambiguous, audiences will leave with plenty to discuss at intermission and after the performance with one major question on everyone’s mind.  No spoiler alerts here, but suffice it to say the conclusion deals with a very current social issue at its heart.

A number of Durham actors appear in this production – Craig Martin, Paul Love, Amber Vibert and Jane Hickey.  Joseph and Kristi Lauria hail from Toronto.  The Stage Manager for this production is Tracey Magee-Graham and Producer is Carolyn Wilson.

The Durham Shoestring Performers’ production of DEAD METAPHOR runs March 24, 25, 29, 30, 31 and April 1 at 8:00 pm at the Oshawa Arts Resource Centre behind City Hall, 45 Queen Street.  Tickets are $15 and may be purchased either at the door before performance times. For further information, please visit their website here.  Once again, this is a reminder of mature themes and language in this production.