We will never get used to war, but sometimes we must acknowledge it

An enormous thank you to the Curtain Call Players for their two gifts of experiencing the comfortable venue of Toronto’s Fairview Library Theatre, and for making this ol’ guy tear up near the conclusion of an incredibly moving performance of Peter Colley’s ‘You’ll Get Used to It! The War Show’.  Yes, it is the same Peter Colley who has also written the terrific ‘I’ll Be Back Before Midnight’ which can truly scare the hell out of you. I have heard of ‘You’ll Get Used to It’, but I have never had the chance to see it performed live until the Sunday afternoon matinee, and I’m pleased I had the chance to see it with this vibrant company.

‘You’ll Get Used to it! The War Show’ bills itself as a drama with music. As a first-time director of a musical, Meg Gibson writes in her Program Message that Mr. Colley conducted interviews with veterans, factory workers, house wives, and war brides. Two different views of the war emerged: from a Canadian perspective, our soldiers were struggling through Europe while holding the torch of democracy. From the soldiers’ perspectives, they weren’t fighting but having the time of their lives through drink, song, carousing, debauchery and skirt chasing until the true reality of the war sets in for them and for us.

Thank goodness, this cast could find some humour and laughter mixed in with the serious subject matter of war. We are at the dawn of the war that was never to occur again where Canada has just joined the fight.  Dusty (John McGroarty) and his five platoon-mates:  bad Sharky (Cristien Rapp), dim-witted Dudley (Jacob Brien), dashing Jean-Pierre (Daryl Ledwon), wise-cracking Pop (Jonathan Rosenstein) and no nonsense Sarge (Jim Leckey). It was evident that Ms. Gibson cared about this show very much as she elicited six central performers to work keenly as a true core ensemble of players. There are no star trips and no egos among these guys. They eagerly listen and respond to each other appropriately when necessary during some of the hilarious moments and some of the poignant times.

The Ensemble Players (David Rudat, Lisa Ferreira, Laurie Hurst, Nikki Hogan, Jennie Garde and Jill Leger) become highly important characters who play a multitude of key roles and influences in the lives of these soldiers. Like the soldiers, the ensemble colourfully enhanced the mostly brisk pacing whether through song, dance or the sharing of historical information. From what I understand, Ms. Gibson also worked effortlessly and tirelessly on the choreography. Her efforts paid off tremendously as we see dance numbers where the actors and the audience members were enjoying themselves thoroughly.

What follows in this nearly three-hour performance are moments of corny jokes, saucy comedy and heart wrenching emotions which envelope this uniquely Canadian story of the most famous conflict in world history.

I have been seeing several period piece plays the last while, and I can understand how important it is that the era is captured as best as possible. From my seat in the house, the soldiers’ uniforms and women’s dresses and skirts nicely captured what would have probably worn in WW2. The toe tapping, big band soundscape as the audience enters had people thinking about such luminaries as Tommy Dorsey and others. There was no need to have lumbering set pieces for this staging.  Ms. Gibson and Producer Janet Flynn made the wise decision to make use of boxes and chairs to establish various scenes and locales.

Sound and lighting effects persuasively made us feel a myriad of emotions while heightening tense moments especially the sound effects of bombs dropping combined with red lights circling the entire auditorium.

Music Director James Quigley and his four-piece band are to be commended for their efforts to provide high quality musical content of an array of many songs from the period. Some of the more ribald content drew much laughter from the audience particularly in the two numbers ‘Der Fuhrer’s Face” and “Our Sergeant-Major’s Got a Helluva” Nikki Hoggan and the Company’s rendition of ‘Lilli Marlene’ was quite moving. A minor sticking point in the music for me was in the balance and volume from some of the singers. Some of the voices of the women were just a tad too amplified for me in the space provided especially since all the performers wore microphones. Sometimes, the volume from the men during the songs was overshadowed by the women.

Mr. Colley’s play becomes a touching tribute to those who sacrificed it all for the good of our country, and the story is a reminder for all Canadians never to forget especially as we approach this Remembrance Day in our 150th year as a nation.

‘You’ll Get Used to It! The War Show’ continues November 9 at 8 pm, November 10 at 8 pm with a final matinee performance on November 11, Remembrance Day at 2 pm. Tickets may be purchased at the box office before each performance, contact 416-703-6181 or visit their website for further information about this show and the upcoming spring production of ‘Sister Act’. The Fairview Library Theatre is located at 35 Fairview Mall Drive in North York.

Tenth season of Ajax Community Theatre full of delights

by Velika Maxam
Guest Writer

Are you up for some local theatre, right in your backyard, where you weren’t expecting it? Grab some tea and a biscuit at a local teahouse, or even book dinner for two at any of the local restaurants in Ajax’s quaint Pickering Village, and then take a stroll down Church Street.  You’ll soon arrive upon the newly renovated modern live theatre, the St. Francis Centre, now home to Ajax Community Theatre and prepare to be entertained! The Centre, formally the site of St. Francis de Sales Catholic church, will debut ACT’s exciting 10th season lineup which promises to delight, from the comedy thriller The Game’s Afoot (Nov 16-25), to the classic drama of 12 Angry Men (Feb 15 – 24, 2018) and closing out with the popular comedy Calendar Girls (Apr 19 – 28, 2018).

From its humble beginnings many years ago rehearsing and performing at the Village Community Centre to its debut at the St. Francis Centre, ACT has come a long way from its local roots.  Part of ACT’s success continues to be its strong ties to the community while nurturing the relationships that helped get them started, especially with the Town of Ajax, which continues to support ACT’s many endeavors, including the popular annual Spirit Walk.  As well, their recent participation in Pumpkinville gave the group a good opportunity to meet the many residents who have attended the ACT shows, along with introducing themselves to a whole new potential audience.

As an emerging GTA arts scene theatre company, with the long-held philosophy of ‘theatre for everyone’, ACT’s choice for its new lineup is no surprise with a mélange of theatrical genres. President Mark Salonius anticipates drawing not only new audiences to such a diverse mix of entertainment but also hopefully many new local actors. Each production calls for bigger casts than previous seasons.  Not only will actors be enticed to the many new on-stage opportunities at the St. Francis Centre this year, but they will be thrilled to learn that ACT will debut its participation in the well-known ACTCO Festival, bringing their local status to a whole new level. The festival will allow actors to experience the adjudication process with their winter production of 12 Angry Men, along with a bit of friendly competition with other GTA community theatres, and a bit of networking to boot at the annual gala held in Spring 2018.

And getting the word out that ACT in Ajax is open for great entertainment, not only for local audiences but throughout the GTA, has been front and centre for this year’s new Board providing some strong ideas on exposure and marketing. Getting theatre to everyone with a focus on increasing audiences and continuing to liaise with the community through opening night galas, volunteer appreciation events, and increasing their digital and online presence was the main focus after their recent annual general meeting.  “It’s a great fun group” Salonius added when talking about the camaraderie of the ACT Board and many volunteers who comprise this theatre group motivated towards another successful season, which will also include a Youth Group portion to their 2017/2018 lineup.  With the hopes of taking on full scale musicals in future seasons, ACT’s first Youth Group startup will, on a smaller scale engage younger talent while exposing local audiences to musical theatre with cabaret style productions, as part of their entertainment lineup for years to come.

With so many great changes, and a new and exciting team energizing Ajax Community Theatre, the 2017/2018 season promises to be an exciting one, with a commitment to provide the caliber of entertainment Ajax and Durham residents have come to know.  Check out their website for more information and tickets.

The play's the thing - DSP open season with In (Roles) We Play

By Joe Szek
Author Tom Stoppard had once written, “Every exit is an entry somewhere else.” The Durham Shoestring Performers have taken this statement to open Season 44 with In (Roles We) Play where eight actors exit and enter in eleven short Canadian plays which, according to Director Andra Kelly’s vision for the evening, sets the theme that ‘each man and woman, in his/her time, will play many parts in life” while exiting and entering many scenes in their own lives.

I believe the one act/short play continues to be an important genre for the writer and the performer to hone skill sets within live theatre. In 1994, 1997 and 2000 The D.S.P.’s Artistic Director Carolyn Wilson, along with other directors and performers, presented an evening of one acts entitled To the Point. I was fortunate where I had the opportunity to develop my skills as a director in 1997 and 2000 and learned a great deal about the fine art of making words come alive from the page to the stage. Many of the participants from these evenings are still involved in the community theatre scene today.

An evening of one acts is a challenging task as we watch multiple story lines with actors who crisscross, weave and segue as different characters from one moment to the next. Some audience members might not care for this presentation format but, judging from this opening night crowd reception, most of this intimate audience thoroughly enjoyed the work of this company of eight performers who make us pay close attention to the stories presented, some a little more detailed than others.

Live performances cannot succeed and be enjoyed without the collaborative efforts of a dedicated production team. Led by Producer Carolyn Wilson and Stage Manager Sharon Lochan and their behind the scenes crew, the performance pace moves briskly along as the actors assist in moving set pieces from one scene to the next. Stephen Gregory’s projection of images and John Lunman’s lighting operation help establish effectively the eleven locales for us quickly. Pay close attention to the projections of ‘Firing Francine’ while watching the story unfold at the end as the two combined add to the ensuing hilarity.

Phil Ireland and Rob Black’s lighting design assisted by John Lunman’s operation clearly focuses each individual story moment. Carolyn Wilson and Margo Rodgers’ Sound Design assisted by Elius Caruso’s operation is also key to helping establish and enhancing the mood and moment.

What truly makes this evening an enjoyable one is Ms. Kelly’s selection of some fresh faces to tell these stories. Veterans Gillian Woodhouse, Patti Wilson, Tim Westhead and Sherri Pereira have all appeared on the DSP stage and on other stages around Durham Region. Samantha Hubbs, Mark Canlas, Sonya Jones and Jesse Korneiew are welcome newcomers to DSP and I hope they return to perform here again soon. Space does not allow me to comment on each short play, so I will focus on some highlights.

Samantha Hubbs and Jesse Korneiew are believably moving in their monologue presentations of ‘Pink’ and ‘Fade to Black’ respectively. Ms. Hubbs genuinely captures the vulnerability of Lucy, a ten-year-old girl, and her surprising reaction after her nanny is murdered during a protest in 1970s South Africa. Mr. Korneiew, meanwhile, captures the initial annoyance of a man which, through his own stupid driving error, costs him his own life. His initial annoyance turns to anger and fear when he realizes that no one is ever in control of his or her own life and that someone might be able to fade us to black at any time.

‘Steps’ is a very odd short play which still puzzles me, but performers Mark Canlas, Tim Westhead, Sonya Jones, Patti Wilson and Sheri Pereira are highly engaging in their slow tango dance movement (thanks to Movement Director Jenni Ferguson) in sharing their story. We want to watch because these five actors are clearly working as a true ensemble of players who are listening to each other while moving. ‘Accidental Death of a Salesman’ is a hoot especially for those who have studied Arthur Miller’s classic play ‘Death of a Salesman’. At least Messrs. Korneiew and Westhead can say they have played two iconic roles of theatre in that of the playwright and of Willy Loman. Sheri Pereira and Samantha Hubbs as the two sassy waitresses offer great fun as they interrupt the conversation between the two men.

Two presentations experienced some hiccups during the opening night performances.  ‘Telemarketing: The Musical’ posed some problems vocally and in musical pacing for Mr. Canlas and Ms. Hubbs. Although Ms. Pereira and Ms. Jones are intriguing in ‘It’s all make believe, isn’t it’, I didn’t feel a strong indirect connection to the subject matter of Marilyn Monroe.

As John and Jenna in ‘Audience’, Mr. Korneiew and Ms. Woodhouse carry on a very odd conversation through a camera mounted on a selfie stick where their images are projected on the front wall. Much like ‘Steps’, ‘Audience’ also puzzled me for its conversation, but again these two performers are appealing to us as we are curious to see where their conversation will take them.

Pay a visit to In (Roles We) Play for a most entertaining evening. It continues performances at Oshawa’s Arts Resource Centre (45 Queen Street behind Oshawa City Hall) November 4, 8, 9, 10 and 11 at 8 pm.  Tickets may be purchased at the door before each performance.  Visit their website for further information.

Scarborough Music Theatre takes a risk with 'EVITA'

Make no mistake about Sir Andrew Lloyd Webber.  The man is certainly a marketing mogul of his musicals from the vast litany of his shows produced professionally in the West End and in North America. From my personal involvement in local community theatre, a Lloyd Webber show can usually be counted to raise funds for any not for profit group.

David Rooney from The Hollywood Reporter wrote of the 2012 New York revival of ‘Evita’ that the musical is ‘arguably the best of Webber musicals and the least dated of his collaboration with Tim Rice as fresh electricity charges through the poperatic 1978 saga of Argentine First Lady Eva Peron.’ Personally, I side with Mr. Rooney. This musical has the power to move audiences genuinely, from its sweeping lush melodies and tightened Latin choreography right to where our hearts break when Argentina’s First Lady frailly speaks to her ‘descamisados’ while her body slowly breaks down from cervical cancer.

Scarborough Music Theatre, Producer Linda Ramsay and Director David Wicken have taken a risk in staging Lloyd Webber and Tim Rice’s ‘Evita’. It demands to be grand in proportion and nature much like Eva Peron lived her short life to the same extent. In his Program Note, Mr. Wicken wanted to bring this highly political story which is blinded by love of one of Argentina’s most famous couples. As well, there is the love between Eva and the people of Argentina who revered her as a saint.  From this preview performance, there were some bullseye hits and misses in meeting these three tasks.

The thrust stage at the Village Theatre offers an ample opportunity for actors to play to all sides of the house. Costume, lighting, make up and hair design all effectively capture the era of the 1940s. Look at some of the historical documents and props along the walls as they help to give further information about the historical 1940s-time frame.

Set Designer Heather Barnes and her team have beautifully recreated the façade of the Casa Rosada along with side staircases to aid in ease of movement from the balcony to the stage setting. However, there are moments throughout the performance where the action appears cramped. Yes, this closeness does work where the ‘has been’, cheesy singer Augustin Magaldi (nicely played by Mark Umphrey) takes Eva away from her family to the hectic, busy and often frenetic world of Buenos Aires; however, the exciting dance routine of the hard-working ensemble at this moment, finely staged by choreographer Kristie Woods, feels so boxed in that the audience cannot appreciate and admire this cast’s work in making it come alive.

Two ‘stop the traffic’ choreographed moments by Ms. Woods occur where the young Eva Peron (a promising performance by Samantha Bullard) ditches her escort at a charity concert and meets Juan Peron (one of the evening’s highlight performances by Dany Savard who understood the context of his onstage moments and listened to the meaning of the words in the songs). The tango these two perform, along with their silent looks of longing and desire during ‘I’d Be Surprisingly Good for You’ is sizzling hot to the point we know they will end up in a bedroom somewhere.

Chris Ning as Che and the company of EVITA. Photo by Raph Nogal Photography

The second occurs with ‘And the Money Kept Rolling In’ where Eva establishes her Foundation while the Argentinian economy nearly ends in bankruptcy. The dancing is precisely taut where each member of the ensemble reaches out to the audience where we feel the excitement of the moment.  We need to see and feel more of this excitement in this production.

Steven Lavoie’s musical direction is solid. Patti Lupone, Broadway’s original Eva Peron, was quoted in her autobiography that the score is difficult to sing, yet Mr. Lavoie and coordinator Judi Lytle have worked diligently with this orchestra and cast to heighten the dramatic musical impact. Thank goodness, the performers wear microphones as it is imperative that we hear every single word sung in this ‘popera’. There were a few sound feedback and balance problems, but I’m sure this glitch will be rectified at the next performance.

The challenge behind any sung through musical is the fact that all performers must be, as someone once told me, a ‘triple threat’ in performance, song and dance. Again, I re-iterate that ‘Evita’ is a challenge for any theatre group whether professional or non-professional.  In this production, Chris Ning as Che, Samantha Ballard as Eva and Rebecca Field as The Mistress are more than competent singers for this music.

Nevertheless, what was sometimes missing from their performances was the passion behind understanding the context of the words. We simply had people singing nicely but not really conveying the emotional perception of the moment. At the top of the show we need to see intense weeping and confusion from the ensemble. By combining this with Che’s frustration and anger of the crowd’s behaviour at the spectacle of the funeral of their revered Mother Eva, the audience should be on every single word sung but the emotional magnitude wasn’t there. At the top of the second act, with the signature ‘Don’t Cry for Me, Argentina’, we see and occasionally feel the emotional intensity of the Argentinians who only want their blessed Eva to appear on the balcony of the Casa Rosada. Ms. Ballard sings the signature song quite well, but what’s missing is the fact the song is a classic manipulation of the crowd’s feelings.  Ms. Ballard needs to consider some moments where we see evidence of this tactic.

Ms. Field, as the Mistress, sings ‘Another Suitcase in Another Hall’ quite lovely, but again we don’t see and feel how this woman has probably survived abuse as a mistress, has put up with it, and will probably continue to put with being a mistress for other high-profile men for as Che tells her, “You’ll get by, you always have before.”

Two heartbreaking songs are handled adroitly and admirably near the musical’s conclusion. Ms. Ballard clearly understood the context of the ballad ‘You Must Love Me’ as I could see tears in her eyes. Here is a woman who is fearfully recognizing that cancer is slowly destroying her body and her life, and she shows it to us. The final image of the Lament with Eva lying in her coffin with a small child kneeling before the casket with Che looking on is haunting.

‘Evita’ continues performances at the Scarborough Village Theatre, 3600 Kingston Road Scarborough. Performance dates are November 9, 10, 11, 16 and 17 at 8 pm with 2 pm matinees November 5, 12 and 18. Some performances may be sold out so contact either 416-267-9292 or check the website.

Joe Szek chats with Whitby Courthouse Theatre president Ted Niles

Recently, I had spent a pleasant mid-morning coffee break on a warm Sunday afternoon with Whitby Courthouse Theatre President, Ted Niles, to discuss the performing arts in Durham Region.  He assures local theatre audiences the WCT 2017-2018 season will appeal to a variety of tastes and interests. 

During his tenure as president, he has seen a continued movement away from the “safe” plays and musicals simply for theatre entertainment.  Whitby’s astounding and haunting production of last season’s "August: Osage County", large scale musical, "Catch Me If You Can", the fresh new comedy "Things My Mother Taught Me" and the Youth Group’s "Willy Wonka" pushed the boundaries of artistic development and growth. It can be risky being so diverse, but Ted happily reports these audiences have validated the choices for this year’s selection of "Mambo Italiano" (November 2017), "Avenue Q" (February 2018), and "The Dixie Swim Club" (April 2018).

Cast of Mambo Italiano - back row: Barb Grenier, Darren Brunke, Peter Mazzucco, front row: Gerri Seffi, Mark Boyco, Laura McCowan -  photo by Ted Niles.

To be president of any community theatre group poses many challenges. He or she must confidently be aware of the complexities in building relationships not only within your own group, but also throughout the hometown region as well. Ted recognizes audience demographics are changing. For example, at WCT, he has noticed a shift to a multi-generational audience in attendance depending on the play, subject material and/or social issue. Hopefully, other Durham/Scugog groups have seen a similar shift.

“Community theatre groups in Durham Region need to continue to nurture and foster the growth of its members and audiences artistically and socially”, Ted explains further. “It is crucial that all companies in this Region work together.  Why?  The production quality of the shows in this Region are getting higher and higher, yet there are not enough skilled people around to help all groups achieve these artistic goals.  Sooner or later, all groups will hit a plateau of higher quality that it will be difficult to sustain this momentum as people will begin to feel burn out and will not want to get involved.” Niles does not want to see any of this happen to the performing arts groups in this Region.

Noticeable change has occurred at the community preview at the beginning of each production at WCT. Many of the patrons that attend this preview are seniors. Today, many seniors can circumnavigate electronic devices to receive immediate information about spending their money for upcoming entertainment activities. They remember the 1960s and 1970s and would have been aware of the various life changing social issues of the day.  They are far more receptive to watching controversial subject material. For example, last season’s "August: Osage County", which dealt with family breakdown, drug abuse, foul language and sexual misconduct, was well received.

Throughout its sixty-year existence and a few name changes, Whitby Courthouse Theatre strives to keep its audiences and stories fresh, invigorating and edgier. Niles’ eagerness to get involved is highly apparent as he is not simply content to be president alone. In November, he directs Mambo Italiano and will be the musical director for the February 2018 production of Avenue Q.

Finally, the Board of Directors of WCT encourages new people to get involved.  Some may feel reluctance or uncertainty whether they might or might not have the necessary skills to be part of a production team.  Ted Niles reminds us that community theatre is based on volunteers.  WCT and other Durham Region theatre groups might have a core group of people, but they can’t do it alone anymore.  

Mr. Niles wants all who have an interest in the performing arts to know, whether as participant or observer, how important and vital it is to build relationships with all people and all performing arts groups.  That’s how we all feel a sense of community in community theatre. 

Ticket information for Mambo Italiano, Avenue Q and The Dixie Swim Club is now available and can be purchased online at their website. Subscription packages are also available online. Individual tickets may also be purchased at the door before each show.  Evening performances begin at 8 pm with some matinee performances at 2 pm.  Check the website for further information or call (905) 668-8111.  The Centennial Building is located at 416 Centre Street South in Whitby.