Velika Maxam shares her thoughts on the Borelian's season opener, Lettice and Lovage

Prepare to be delighted by the vast imagination and illustrious eloquence of Lettice Douffet (Alexandra Hines), an eccentric tour guide who, with a flare, zest for life, and a deep aversion to the dull and defeated, will elevate your sensibilities in the Borelians’ production of Peter Shaffer’s Lettice and Lovage, now on stage at 1873 Town Hall, Port Perry. This production will leave you yearning for more.

Our relationship with Lettice Douffet begins outside Fustian House, a dreary sixteenth century hall in Britain, where she barely escapes rendering her tourists tearful with boredom. Yet her artistic genius begins to ascend with budding historic embellishments that leave each new tour delighted with the wanderlusted thoroughly entertained.  Her theatrical style and prose do come at a cost when the Preservation Trust’s Lottie Shoen (Amy Caughlin), confronts Miss Douffet’s fanciful style as a direct assault on historic fact.  Miss Shoen accuses Miss Douffet of being a ‘paid fantasist’.

This brilliant piece by Peter Shaffer takes us through three acts of well poised conversation about life, history, architecture and theatre. If you love the art of the spoken word, a real flare for written conversation, and deeply colourful dialogue, the Borelians have given you your cup of tea.

Originally written for famed actress Maggie Smith, Lettice will leave you questioning and protesting the mundane.  Brilliantly played by Alexandra Hines, her Lettice oozes with character and style with an interpretation that probably would have impressed Mr. Shaffer. Ms. Hines certainly carries such a weighty role with ease and simplicity that allows you to immerse yourself in her eccentricity and personality.  Amy Caughlin as Lottie Shoen and Lettice’s lawyer Mr. Bardolph (a fantastic performance by Howard Linscott) are so well played which allowed the audience to be invited into the web woven by protagonist, Lettice.

The Borelians have launched their 2017/2018 season with a cleverly chosen witty piece which has been well cast and well staged.  The set certainly speaks of the eccentricity of Miss Douffet and her grand love of England, history and theatrical leanings.  A well-defined set such as this one truly digs deeper into the heart of the character while accentuating the allure of her flamboyant personality.

Director Joanne Norman has used her seasoned knowledge of stage, lighting and performance to illuminate such a creative piece that will delight and entertain.  What she has demonstrated here, and rather well, is the nature of the story – Lettice will leave you questioning your own mundanity. Through this questioning, each of us is asked to drench our own reality with colour and hue even at the cost of authenticity.

Lettice and Lovage continues October 14, 19, 20 and 21 at 8 pm with 2 pm matinees October 14 and 21 at Town Hall 1873, Port Perry.  Tickets may be purchased at the door before each performance or visit their website to purchase tickets on line. To learn more about the Borelians, visit their website.

Produced by Kyle Brough and Helen Coughlin, Staged Managed by Brenda DeJong and Directed by Joanne Norman.

Don't Wait until Dark to get tickets to the Scarborough Theatre Guild's latest production

Community theatre groups and audiences never seem to tire of the suspense thriller, especially Frederick Knott’s WAIT UNTIL DARK.  Yes, it is a money maker, and yes, people love its ‘on the edge of your seat’ approach of wondering what is going to happen next. Despite a few hiccups in pacing on opening night for the Scarborough Theatre Guild, these actors fervently tackle this iconic thriller with passion and drive. As shows continue, these performers will most certainly strengthen, solidify and build the intense plot momentum.

WAIT UNTIL DARK is the story of Susy Hendrix, a blind woman, who is tormented by three thugs in her basement apartment who believe a supposedly valuable object is hidden within the flat she shares with her photographer husband, Sam. The 1967 film was a good adaptation for its time but, whenever I see this play, I hope a production team’s vision brings new insight to the text. The Theatre Guild brings a fresh look to this suspenseful story thanks to the concerted efforts of Mr. Siversky, Producer Linda Brent and Stage Manager Daniel Bell assisted by Ana Gonzales and Ryan Ash (who appear as police officers at the play’s conclusion).

As we enter the auditorium there is a 1960s homage of a terrific soundscape of music, compiled by Siversky and Steve Hurej, which escorts us back fifty years within mere minutes.  People around me were humming and singing quietly along with the tunes (and, yes, I was too). When the performance begins, we are even treated to a sixties style video teaser by Eric Dubois reminiscent of what would have been shown in cinemas.  Very effective, indeed.

Period piece texts always pose challenges for set decoration, props, costumes, make up and hair design. Kudos to Alison Overington, Maria Steventon , Daniel Bell, Gloria Worman and all those behind the scenes individuals for the painstaking work involved in the gathering of said materials, not an easy task to complete by any means. It is the backstage work in these areas which enhances character development and complements the established mood and environment of the play.

Gord Shannon and Siversky’s one room set design on the three-quarter thrust stage of the Scarborough Village Theatre immediately sets a claustrophobic and uncertain sense of a foreboding future. The staircase is somewhat jarring at first as I wasn’t certain if such a large one would have been found leading to basement apartments in 1960s Greenwich Village. By juxtaposing Messrs. Shannon and Siversky’s design with Eric Sullivan and his crew’s eerie and shadowy lighting design, the staircase and apartment become a striking image of a metaphorical descent into the darkness of the human soul. Rather clever and chilling visual effect courtesy of set builders Dave Widenmaier, Ron Remigo, Steve Doll and Britt Noll.

The last fifteen minutes of the play is staged in complete darkness with the odd bit of light, and it is here where the audience enters Susy’s world and terrifyingly experiences her ordeal through our own blinding darkness. Mr. Siversky gives credit to director Alfred Hitchcock who liked audiences to use their imagination when it came to violence.  There was a hushed silence in the auditorium as I’m sure the audience was trying to imagine the involved characters and their carefully choreographed movements, combined with heightened emotions, all in jet blackness.

The key to believability of character development in a classic staged thriller is, hopefully, never to venture into melodrama where the performances merely becomes shlock; thankfully, Mr. Siversky’s staging does not go down this route.  His uninterrupted cat and mouse movements of his actors allow us to witness who is in control, who is not in control, and how control is taken back once again. As Gloria, the daughter of the upstairs landlady, Nicole Burda captures beautifully the spoiled and bratty precociousness of the lonely young person who ultimately becomes Susy’s confidante.  John Palmieri brings a natural likeability as Susy’s unsuspecting husband, Sam.  We see a man who lovingly teases his wife, and yet is firm with her when necessary because he truly loves Susy and wants her to reach her full potential regardless of her blindness.

Glenn Ottaway, Tommy Boston.  Kevin Shaver is at the bottom of the stairs. Photo by Mark Tingle

As Carlino and Mike Talman, Glenn Ottaway and Kevin Shaver offer diametrically opposing, yet intriguing characters who are intent on finding this hidden valued object no matter the cost. I have seen Carlino played as a mere buffoon in previous productions, but Mr. Ottaway delves further into his character’s persona to show us there’s more underneath the surface. Posing as a rather strange detective, Mr. Ottaway uses his voice and stature to con Susy through fear and intimidation, a far cry from buffoonery.  Mike Talman, meanwhile, poses as a friend of Susy’s husband, Sam. Mr. Shaver confidently plays with Susy’s and the audience’s emotions as we truly want to believe those moments where he feels sympathy for the young woman and the predicament in which she finds herself. But in Act 2 where Talman recognizes Susy has duped him, Mr. Shaver’s forceful turn from the ‘bad guy with a heart’ to someone who is on the verge of destroying a life is frightening.

Tommy Boston is scary as hell as the quick thinking and kingpin thug, Harry Roat, Jr. His initial appearance a few minutes into Act 1 draws our attention immediately to him.  Mr. Boston gives orders and expects they will be followed to the letter, or God help that Geraldine is not pulled out in retaliation. (You’ll get the reference when you see the play OR have seen the film). It was also fun to watch Boston’s performance versatility as he becomes Mr. Roat, Sr. to trick Susy into falling into a set trap for retrieving this hidden valued object.

It is obvious Silvina D’Alessandro, as Susy, is enjoying herself immensely in the role made famous by Lee Remick on Broadway and by Audrey Hepburn in the film. The rehearsal process must have been intense and rigorous for Ms. D’Alessandro as she convincingly makes us believe she has lost her sight. Additionally, the physicality of the role is one which requires a great deal of strength and stamina as it is imperative that Susy never becomes a ‘damsel in distress’ and allows her blindness to be a crutch. Ms. D’Alessandro’s performance does not cross that line as she always remains in complete control of her heightened emotions nor does she allow them to become melodramatic.

The genre of the suspense thriller will always pose challenges for any theatre company as there must be a community effort of all involved to ensure its success. In his Director’s Notes, Mr. Siversky writes about the creation of theatre magic, and this is exactly the goal of local community theatre. It takes the concerted efforts of everyone involved to pull off that incredible bit of theatre magic for an enjoyable evening of entertainment.

Performances of WAIT UNTIL DARK continue October 12, 13, 14, 19 and 20 at 8 pm and October 15 and 21 at 2 pm.  All performances take place at the Scarborough Village Theatre, 3600 Kingston Road, Scarborough. Contact the Box Office at 416-267-9292 to purchase tickets or visit the website for further information.

Durham's newest hotspot for business collaboration and creativity, the GCentre Oct 10 in Ajax

Durham Region’s entrepreneurial gspot is open Tuesday Oct 10 2017 in Ajax. The GCentre is all bases covered collaborative business focused space with office space, board rooms, lounges, meeting rooms, plus a training room with accommodation for 70 people.

The centre is the culmination of a lot of hands on work and a vision from MD Tarekh Rana and SJ71 limited who have been involved in real estate development in the Region for some time.

“We support and encourage inspired business thinking and development, we’re pleased to bring our dream to reality in Ajax”, says Rana in a press release.

The GCentre is located at 190 Harwood Ave. S. in Ajax. The grand opening and ribbon cutting is scheduled for 9 am.

Spend the evening with Dracula and the Peterborough Theatre Guild

In the Director’s Note of the playbill, John Lunman tells audiences they will have a grand time in preparing to meet their nightmares in Bram Stoker’s DRACULA by Stephen Dietz. There were numerous moments at Peterborough Theatre Guild’s opening night where the audience was indeed having a grand ol’ time in this invitation for all of us to visit the darker side of human nature.

An extremely warm fall evening on Rogers Street provided an interesting juxtaposition of weather extremes.  While audiences enjoyed the air-conditioned comfort of the Guild Theatre, the characters of the story must survive in dank dungeons, decrepit cemeteries, smog-filled London streets and lifeless chateaux. Mr. Lunman calls DRACULA an adventure story, and this cast rises admirably for the challenge in leading us on a journey of suspense and thrills.

 Upon entering the theatre proper, we are immediately transported from the local heat and humidity of Peterborough to a grandiose setting of an open concept castle chamber complete with high Gothic columns and large windows.  Set designer Melanie Baker and her team of builders have created an extraordinary impressive room chamber housing a bed resplendently covered with a deep red spread which, in the Second Act, becomes a grave for the undead. Traditional Romanian gypsy music selected by Derek Weatherdon gorgeously underscores the setting as we wait for the production to begin. Reese Brunelle and Linda Lyons stylishly project slow moving clouds on the back wall which gradually cover the moon. This special effect enhances even further the eerie world of the famous (or infamous) Count.

Costumes by Gayle Fraser, Chelsea Day-Ross, Jayne Martin and sewers Gwen Hope, Jayne Martin and Lori Mosienko beautifully capture the time frame of the attire at the turn of the twentieth century.   Of note is the lushness of the colour red underneath the ebony blackness of Dracula’s cape.  Hair and make up effects (headed by Shelley Moody and her team) complement each character development as the story progresses. For example, Renfield’s wildly teased hair nicely reinforces her state of madness as she is chained to the dungeon wall.  Prop pieces for period plays always pose challenges for those who assume this task.  Kudos to Barb Mills and her team for finding appropriate objects from the era.

Sound and lighting effects are of utmost importance especially in telling the story of DRACULA. Rick Szajkowski, Derek Weatherdon and their team weave their magic to create moments of surprise and horror while heightening moments of true love, passionately sexual overtones and sensual dialogue.

Since Mr. Dietz’s version of this story is not meant to be campy, it takes a keen awareness in direction to ensure rehearsals must focus on not falling into this trap. Yet even Shakespearean tragedies use comic moments for relief and, thankfully, they are employed in this production as well. We see this in Renfield’s (Katie Lunman) opening monologue where we learn some biographical information about Bram Stoker.  Throughout the evening sometimes in nursery rhyme and sometimes in dialogue, Miss Lunman captures adeptly and clearly the comic and layered nuances of a lunatic in Dr. Seward’s insane asylum. A shocking turn of events (no pun intended) involving Renfield in the second act produced gasps from the audience, and Miss Lunman is to be commended for creating a frightening moment.

Jacqueline Barrow as Van Helsingand Elizabeth Moody (on table) as Vixen - photo by Wayne Bonner

Sabrina Keyes (Lucy) and Elektra Watson (Mina) offer good performances of two distinct women who experience much development and growth especially in their love lives. Dr. Seward and Lucy share a highly touching and believable moment in the first Act where she still cares for the man even though she chooses not to marry him. As Mina, Ms. Watson patiently awaits her lover, Jonathan Harker, to return from his business trip and corresponds with him through most of Act 1 in letters. The initial ‘girl talk’ at the top of the first act hits the right notes in pacing and timing.  Nevertheless, I had some difficulty in hearing clearly both Ms. Keyes and Ms. Watson’s delivery of expositional dialogue at various times in both Acts. As performances continue, I’m sure they will be mindful of this next step.

Jacqueline Barrow as Van Helsing is a strong presence on stage as a philosopher and researcher of unexplainable and supernatural illnesses. Ms. Barrow’s expositional dialogue delivery at times isn’t clear especially in the second act.  Again, as performances continue, I’m certain she will be mindful of enunciation. Ensemble members Elizabeth Moody, Kat Shaw and Lily Gordon are fun to watch as they switch in characters from vixens to asylum attendants and maids.

As ‘Brit Twit’ Jonathan Harker, Bryce Sage pokes fun at his character and eccentricities through his ‘clenched teeth’ delivery of his letters in the first act as he is on a business trip selling land in the Carpathian Mountains to Count Dracula. David Adams, as Dr. Seward, shows us a very human man who has probably been jilted before in professing his love to the child-like Lucy. There is a strength of character within him as he must not allow his personal emotions to overshadow his pursuit as a doctor, and Adams clearly shows this quality in his secure on-stage portrayal.

Andrew Little shows no hesitation in his performance of the title role. His Count offers another possible understanding and interpretation of this iconic figure. Dracula appears about half way through the first act; even though he is a mere observer of people and events at this stage, Mr. Little makes us watch his every silent move. While his Dracula may initially appear boyish and youthful, Mr. Little’s height and jet-black hair combined with piercing looks and longing gazes from his eyes reveal underneath a heightened and controlled sexual appetite to quench his vampiric thirst.  Not an easy task to accomplish, but Mr. Little is obviously relishing in the moment.

So much work goes on behind the scenes to capture a specific look and appearance of any play, and this is where a Stage Management team is hard at work for countless hours. Props to Tracy Magee-Graham and her crew who are impeccably organized to keep the 117 technical cues in this production operating as smoothly as possible.

Performances of DRACULA continue September 28-30 inclusive and October 5-7 inclusive at 8 pm with matinee performances October 1 and 7 at 2 pm.  The Guild Theatre is located at 364 Rogers Street, Peterborough.  You may purchase tickets either by calling the Box Office at 705-745-4211 or online .

Production Manager: Karen Workman, Stage Manager: Tracy Magee-Graham, Director: John Lunman.  With David Adams, Jacqueline Barrow, Lily Gordon, Sabrina Keyes, Andrew Little, Katie Lunman, Elizabeth Moody, Bryce Sage, Kat Shaw, Elektra Watson. 

Hometown theatre with heart: cheers to the Borelians' new season

The co-chairs of Port Perry’s Borelians, Kyle Brough and Helen Coughlin, continue to promote diligently the importance of the performing arts in Scugog and Durham Regions. A locally based community theatre group since 1971, the Borelians (the name derived from the village of ‘Borelia’ which is now a part of Port Perry) has entertained Scugog and Durham Region audiences for forty-seven years. Given the most welcoming atmosphere that patrons, guests and members always receive each time the Borelians host an event, I’m positive there will be a huge fiftieth anniversary celebration in this quaint town with a big heart.

Over lunch at Port Perry’s Pickles and Olives, Mr. Brough (who is especially grateful and appreciative of the stable force of live theatre) and I discuss many issues which influence tremendously not only the Borelians but also many other locally based groups, with audience development as one of them.   In our twenty-first century world of instant gratification of knowledge and entertainment now downloaded to our Ipads and mobile phones, how on earth can community live theatre even survive and thrive?

Mr. Brough firmly believes that the nature of community theatre has changed given the advent of electronics and social media.  And what did the Borelians do to face this change head on?  Through sparks of audience conversation, three tasks emerge: a) audiences want to be entertained; b) audiences want to think and c) audiences want ‘more’.

The Borelians have met the first two tasks admirably in their recent productions on the Port Perry Town Hall 1873 Stage: HAVING HOPE AT HOME, THE DRAWER BOY, AUGUST: OSAGE COUNTY, VANYA AND SONYA AND MASHA AND SPIKE.  Additionally, I will be grateful the Borelians allowed me to direct DOUBT: A PARABLE once again.  It’s the third task which poses a question - what does it mean that audiences want more?

Well, the Borelians proudly give the audiences more bang for their entertainment buck.  There are opening wine and cheese gala nights and a meet and greet with the cast after the performance.  Gala night audiences may tour the set after the performance, see the costumes up close and handle carefully some of the props. The Borelians have found their opening galas to be the biggest draw as the magic of theatre comes alive for them.

The upcoming 2017-2018 season looks promising.  Now in rehearsal for its October opening is Peter Shaffer’s LETTICE AND LOVAGE which the company bills as a hilarious satire centered around a flamboyant countryside tour guide who likes to embellish the facts on her tours.  During one tour she meets her counterpart, a fact obsessed, London based official in desperate need of distraction. The winter production of SISTERS by Wendy Lill, is a devastating, intense and provocative Canadian play which follows a horrific event to occur in a residential school.  There you have it – two engaging plays offering comedy, drama and an opportunity for audiences to laugh, to think, to ponder and to reflect.

Performance dates for LETTICE AND LOVAGE are October 12, 13, 14, 19, 20, 21, 2017 at 8 pm with matinees at 2 pm on October 14 and 21, 2017.  Performance dates for SISTERS are February 15, 16, 17, 22, 23 and 24, 2018 at 8 pm with matinees at 2 pm on February 17 and 24, 2018.

Tickets for both productions are now available for purchase at the Town Hall 1873 Box Office (905) 985-8181 and/or through subscription.  For further information, please visit the website.  Advance tickets may be also purchased online here.