Peterborough Theatre Guild - Bringing the sexy back to Dracula

By Joe Szek

After watching a recent rehearsal for Peterborough Theatre’s Guild’s upcoming production of DRACULA, I’d forgotten just how provocative, sensual and sexy the dialogue truly is in Bram Stoker’s famous tale in this adaptation by Steven Dietz. Durham Region resident, actor and director John Lunman is at the helm of this energetic and focused 12-person cast as they prepare for their opening night on September 22 at the Rogers Street Theatre in Peterborough.

The 1992 film version of DRACULA, directed by Francis Ford Coppola, featured an outstanding performance by Gary Oldman in the title role who splendidly played up the horrific elements.  Other actors who have essayed the Count over the years include Jack Palance, Christopher Lee and Frank Langella.  On a personal note, the 1931 Bela Lugosi black and white film version is rather campy as standards of acting techniques and staging today have attained greater cinematic heights of emotion and characterization than ever before.  And herein lies the challenge when interest in the DRACULA story resurrects itself yet again.

To stage DRACULA for live twenty first century audiences, whose attention span might be somewhat limited, could turn campy if the cast and crew do not have a firm grip on what it is they want to create for an audience.   For Mr. Lunman, this adaptation by Steven Dietz is not meant to be campy at all. In fact, for those who have read the novel (required reading in my undergraduate years) Dietz’s version incorporates much of the original plot material and dialogue into the script.  Additionally, Mr. Lunman promises many moments of suspense to make audiences feel scared and creepy throughout the performance.

This peek into a rehearsal provided me only a glimpse of an extraordinary set design, makeup and costumes that, once they are fully completed, will eerily transport audiences back to a macabre, dank and foreboding setting in Transylvania.  I had a few moments to speak with individual members of the cast to inquire how they found the rehearsal process.  Each of them unanimously agreed how important it is to do justice and maintain as much truth as possible to Dietz’s adaptation, to the characters and to the action of the story.  Dietz’s script is a powerfully written one of horror in its exploration of the darker elements of our humanity. What has been rewarding for this cast is the collaboration and support they have felt in trying things out with each other, with the director, and with the production team.

It appears that DRACULA is an appropriate choice to help audiences prepare and celebrate once again that wonderful time of the year called Hallowee’en.  I am certainly looking forward to returning to see this production during its opening September weekend.

DRACULA by Bram Stoker with adaptation by Steven Dietz opens September 22 at the Peterborough Theatre Guild. Performances run September 22, 23, 28, 29, 30, October 5, 6 and 7 at 8 pm with matinee performances at 2 pm on September 24, October 1 and October 7.  Tickets may be purchased at the door before each performance, by phone at 705-745-4211 or online at www.theatreguild.org/playbill.  Produced by Karen Workman, Stage Managed by Tracy Magee-Graham and Directed by John Lunman.  The theatre is located at 364 Rogers Street, Peterborough.

Driftwood's 'Othello' set in 1974 Cypriot/Turkish conflict; it's an artistic interpretation says Velika Maxam

OTHELLO BY DRIFTWOOD THEATRE GROUP
Directed by D. Jeremy Smith

by Velika Maxam

A love seeped fallen handkerchief, the destructive power of envy, and antagonistic plotting, all set against the backdrop of love and war, unfurl one of Shakespeare’s most poignant tales of jealousy and tragedy, Othello.  A well-acted piece, brought to life by the Driftwood Theatre Group, as part of their 2017 Season Bard’s Bus Tour with a clever artistic interpretation, the art of the play comes to life outdoors under a watchful sky, proving to be one of the summer’s most enriching theatre experiences.
 

The love of Othello, a Moorish general in the army, for his Desdemona, a Venetian beauty, is well played by actors Jordin Hall and Fiona Sauder, who demonstrate well devotion and loyalty between man and wife from infatuation and romance to the relationship’s ultimate growing inclemency.  Christopher Darroch who plays the villainous Iago, is not without mention, as the driving force behind Othello’s demise.  Swooping in frequently as the plot thickens, Darroch moves us with Iago's various monologues of lies and deceit, not to mention exploitation and manipulation, all done with a drive and purpose that any devilish Shakespearean character doth possess. 

The intriguing alliance between Cassio (Shelly Antony) and Desdemona, is ultimately utilized by Iago to incite Othello’s insecurities, in a path of destruction, and Antony moves the audience well with charm as Cassio, drawing the audience further into the depth of plot of Desdemona’s campaign.

Photo by Dahlia Katz

Other actors play multiple roles, exchanging accents to delineate between characters, Helen King for example, which in a clever interpretation plays Brabantio customarily a male role.  The gender line was towed in Shakespearean times, when all parts were played by men and boys, so making the switch in this piece is refreshing.  Ayesha Mansur Gonsalves playing the Chief of Defense, also shines as Emilia, who emotionally exposes the truths of the inter twisted schemes and Iago’s fateful intentions that drive Othello’s monstrous jealousy and ultimate collapse.

As a frequent Shakespearean sub plot, the threat of war abounds, and in Othello there is talk of the invasion of Cyprus by the Turkish fleet, which coincides well with the battle waged between Iago and Othello.  Driftwood Theatre Group, in an adept artistic spin, set the conflicted action of the play on the island of Cyprus, but between July 20 - August 14, 1974, introducing a real military event in recent history to the plot, and allowing a modernization of the piece which was a welcomed interpretation. 

Any theatre lover who hasn’t experienced open-air plays must do so with this piece.  As the plot darkens so do the night skies, which coincide interestingly with the intensity of the story, allowing the audience member to transcend to the 17th century wondering if Shakespearean plots were meant to be played outdoors as the day and the play dim simultaneously.  The backdrop of the Cypriot war brings with it sandbags and bunkers set out on a stage of grass, of which the actors enter and exit upon throughout, giving any theater goer a realistic escape into a centuries old piece, hard to find in a darkened theatre.  

The Driftwood Theatre Group's 2017 Season Bard’s Bus Tour of Othello continues until August 13 in various locations across southern Ontario, check out their website for further details.

R.S.V.P. to Mary’s Wedding, Theatre 3x60 production on at the TownHall in Port Perry

When you R.S.V.P. to MARY’S WEDDING at the Port Perry Town Hall, you will witness some very touching and moving performances by two other 3x60 aspiring actors in the Theatre Program at George Brown College.

Stephen Massicotte’s MARY’S WEDDING is appropriately billed as a memory play for a good reason. Recent English immigrant to Canada, Mary (a delicately and sweetly handled performance by Manon Ens-Lapointe) and Charlie, a young farmer (a boyishly likeable Duncan Gibson-Lockhart) have discovered the innocence and humour of first love.  The year is 1914, the beginning of the Great War, and the world the two protagonists know begins to collapse around them.  What makes this play intriguing is the fact it begins on the evening of Mary’s actual wedding.  Through a series of memories and flashbacks, the audience is whisked away to the moment when Mary and Charlie first meet, their growing attraction, and his ultimate departure for the war.

Two-hander plays are dichotomic in nature – they are rewarding and challenging.  The reward stems from the fact that an audience will only focus on two characters and not be concerned about other characters and their interconnections.  The challenge stems from the fact that so much depends on the two individuals who must carry the script themselves to its conclusion.  If there is no positive chemistry between the two actors, no connection, no heart then a two hander can most certainly fall flat quickly. Rest assured, this does not occur in 3x60’s production.

Director Carey Nicholson nicely weaves and paces a story that, although it may appear simple at first, is finely textured on many levels.  Stephen Massicotte waxes eloquently through much of the dialogue, and both Ms. Ens-Lapointe and Mr. Gibson-Lockhart eagerly wrap their emotions around the poetic imagery artistically meshed within the script.  They tenderly capture the budding feelings of young love convincingly that our hearts break as the war draws closer and begins to separate these young lovers. Again, 3x60’s set is minimalist, which allows us, as audience, to imagine the sights and the smells of the various locales established by Colin Hughes’ warm lighting. Sound effects effectively allow us to hear battle noises, which draw us out of romantic moments to the reality of the tensions of the present-day situation and surrounding.

I do not want to ruin the conclusion of the play as you must experience first hand how extremely heartrending it is. Both Ms. Ens-Lapointe and Mr. Gibson-Lockhart certainly reveal their highly promising potential as stage actors, as do Ms. MacRae and Mr. Williamson from 3x60’s most recent production of SALT WATER MOON last week.  To conclude, emotionally charged plays for live performers can be daunting as they do not want to appear foolish in front of audiences.  There are no histrionics at the end of MARY’S WEDDING. Theatre 3x60 is to be commended for providing future professional actors an opportunity to learn and to practice their craft with Canadian plays of identity and personhood.

MARY’S WEDDING continues performances at the Port Perry Town Hall 1873, 302 Queen Street on the following dates:  July 18, 25, 26, 27, 28, 29 at 8 pm with a matinee performance July 22 at 2 pm. Tickets may be purchased at the box office before each performance or visit Theatre3x60 website or the Townhall's website for further information.  Directed by Carey Nicholson.  With Manon Ens-Lapointe and Duncan Gibson-Lockhart.

Love under a Salt Water Moon at Theatre3x60

SALT WATER MOON by David French
A Theatre 3X60 Production
Directed by Carey Nicholson, with Lexi MacRae and Michael Williamson

In honour of the 150th celebration of Confederation, Theatre 3x60 is to be commended for its’ mandate of producing highly professional Canadian drama with David French’s sentimental SALT WATER MOON, a lovely two-hander actor’s piece of the Mercer family set in rural Newfoundland in the late nineteenth century.  Mr. French has written a series of five plays involving the Mercer family, and it is SALT WATER MOON that is frequently produced on many stages around our country.

To pass the time waiting for her fiancé, Jerome, to come and visit her, Mary Snow (Lexi MacRae) looks at the moon and stars with a telescope. Enter Jacob Mercer (Michael Williamson), Mary’s former beau who just ‘happens’ to appear on the road to Mary’s house.  Jacob left Newfoundland abruptly the year before to seek his fortune in the big city of Toronto. One can only begin to imagine Mary’s shock given the fact Jacob left her without any explanation.  To move on with her life, she made the decision to get married and start again.  Jacob still believes Mary loves him and he tries his best to get her to change her mind about Jerome.  The question arises if true love will prevail.

At the opening Saturday afternoon performance, Ms. Nicholson has lovingly treated this tender story with much respect and reverence of the material. The set is minimalist which is a bonus given the fact Nicholson allows us, as audience, to picture in our minds how long that road is for Jacob as he makes his way to see Mary.  The soundscape of waves in the opening moments before the story begins beckons us to a seaside coast far removed from any large metropolis Canadian city.

Ms. MacRae and Mr. Williamson, who are entering their second year of the Acting Program at George Brown College, deliver solid performances as SALT WATER MOON is a challenging piece since actors must sustain convincingly the East Coast vocal tonality for well over one and a half hours.  For the most part, MacRae and Williamson evoke believably they are East Coasters.  Mr. Williamson’s impish grin and smirk upon his entrance lets us know he is a man on mission to win back the girl he truly loves and nearly lost.  Ms. MacRae is fiery and feisty as Mary Snow who appropriately puts Jacob in his place periodically while reminding him that she, too, has been changed by events from his sudden departure.

By the end of SALT WATER MOON, we have seen the worst and best of Mary Snow and Jacob Mercer.  We root for each of them individually as we learn of the turmoil in their lives and what brought them to this point in which they now find themselves.  We root for them at the conclusion because we know they belong together.

SALT WATER MOON continues performances on the following dates:  July 11, 12, 20, 21 and 22 at 8 pm and July 15 at 2 pm at Port Perry’s Town Hall 1873 (302 Queen Street).  Tickets may be purchased at the door before each performance or at www.townhall1873.ca. For further information about Theatre 3x60 visit the website.

​​​​​​​A Sacred Quest for Silliness — Monty Python’s Spamalot staged by Ryleepuss Productions

Story by Paul Love

SPAMALOT, like most things conceived from the minds of the prolific British comedy troupe Monty Python, is irreverent and silly, but can be thoroughly enjoyable in the hands of a cast that understands how to present it. It has been said in theatrical circles that the secret to effectively performing comedy is not in the funny moments themselves, but in how seriously the characters take themselves. The cast of the Ryleepuss Productions staging of SPAMALOT goes far to strengthen that notion.

For those not familiar with the show or its source film, Monty Python and the Holy Grail, it is the tale of King Arthur and the quest for the Holy Grail. As in all good comedy, things don’t come easily for our main protagonist, as Arthur and his knights must endure taunting, challenges, and indifference from politically charged peasants, rude French soldiers, and strange woodland knights, among others. The show is, in essence, a showcase of humorous songs, both new and old (taken not only from the source film, but from other past Python works), and some of the film’s funniest scenes that are, in some cases, recaptured word-for-word.

From a certain perspective, there are two types of people: those who really get Monty Python, and everybody else. This cast really gets Monty Python. And top marks go to Shawn Elliot who has the pleasure of playing some of the best characters on the SPAMALOT/Holy Grail roster. He comfortably — and hilariously — transitions between the warmth and bravado of Sir Lancelot, the silly impertinence of the French Taunter, and the fever-dream kookiness of the Head Ni! Knight. Doug Hammond also deserves kudos for mining the comedic gold to be found in solidly performing Not Dead Fred, Robin’s hilarious Lead Minstrel, and the ever-complaining Prince Herbert.

Alex Amini and the costume team deserve special mention for creating some wonderful costumes that, in many cases, look as though they were taken right from the set of the film.

An addition to the stage version of the tale is the Lady of the Lake, the mystical being who presented Arthur with the great sword Excalibur, making him King of the Britons. In this production, she assists Arthur in his Grail quest and entertains Arthur and his knights at various places along the way, while also struggling with her desire for more on-stage time in a wink-wink nudge-nudge nod to the lack of meaty female roles in male-dominated theatre productions. Michelle Kettrick as the Lady of the Lake is the jewel in this production’s crown. Her performance is appropriately bright and glamorous, and when she sings songs like “Come With Me” and “Find Your Grail”, her powerhouse voice soars, filling the Uxbridge Music Hall with electricity. Not content to simply be a good singing voice in a musical production, Ms. Kettrick displays solid acting chops, giving us a performance that is just as goofy and silly as that of her fellow cast members, which makes her top-notch singing all the more disarming whenever she breaks into song once again.

Despite a few lighting and sound glitches, the cast rises to the daunting challenge of performing Monty Python, and they do so very well. If you’re in the mood for an evening of irreverent musical comedy with a beating heart, it’s worth the canter to Uxbridge to see Ryleepuss Productions’ SPAMALOT.