SMT's zany take on The Addams Family is brilliant and unique

by Velika Maxam
Guest Writer

The Addams Family television series from the 1960s, delightfully imprinted itself culturally on a generation, just like those before it with the 1938 comic strip debut of the same in The New Yorker magazine by cartoonist Charles Addams.  Since that time, it continued to groove with the times, as an animated series, big screen film and Broadway musical, depicting a campy fun tale of an affluent family with a penchant for everything dark and bizarre.  The musical version of this eclectic clan, currently on stage at Scarborough Village Theatre, has not slowed down the momentum of this wacky narrative; it may even have propelled it.

If you haven’t already had the gruesome pleasure, meet uber-romantic Gomez Addams madly fallen for his glamorously empowered Goth like better half, Morticia (derived from mortician), along with their ghoulishly precocious children Wednesday, and Pugsley, not to mention the extended spooky clan of Uncle Fester, Grandma Addams, and Lurch.  Together they make up one of the most famous families in entertainment history, alongside the Waltons, the Sopranos, and the Ewings, who find themselves perfectly normal in their divine love of everything scary and grim, regardless of how horrifically they are perceived by the outside world.  Blend in some well scored music, and song, along with creative choreography, and we then begin to see the true side of this family in this marvellous production, one with heart and ties that bind.

The casting of Scarbourough Music Theatre’s version now on stage, is nothing short of stellar. Every single actor in this show, including the ensemble, infused so much life into their characters, that not once did it strike me that these were real people portraying characters, who perhaps the next day would be caught in traffic, or grabbing a coffee at a local bistro.  In fact, each one of them has already erased any previous imprint from other actors, from film and TV who played these roles. In order to suspend disbelief, and allow the audience to be drawn into the souls of these characters, their story and vulnerabilities, forgetting they are actors is key, which this production did successfully.

Photo by Raph Nogal Photography.

Truth be told, playing characters already brilliantly etched in history is no easy feat, and both Jason Silzer (Gomez), and Jill McMillan (Morticia) met that challenge and won me over so well, that I will find it hard to see them portrayed again so authentically by anyone else.  She’s spicy, he’s in love, she’s determined, empowered, and he’s weak to her beauty, together we feel their fire from what some may consider an odd coupling but once you see their chemistry, you get it.  Like most parents, they stress, they worry, and they challenge each other from the weight of their trials and tribulations, making this spookish couple very ordinary and relatable.  There is so much humanity in this comically frightful family that with each issue they face, they become oh so much more likeable and engaging.  The wonderful comedy in this show is woven so remarkably well throughout by each actor, with clever quips, impeccable timing, and blended in with heartfelt song and emotion, that I was humoured and delighted throughout.

Daughter Wednesday (Shai Tannyan) is love struck, and ready to face the passage of time with beau Lucas Beineke (Aaron Cadesky) but the challenge of an outsider, someone less dark, more ‘normal’ brings the classic duality of any famous love tale into play.  Opposites attract but then repel each other, but in this romance we see the challenge of each’s desire for individuality and the ensuing compromise to accept each other’s differences.  Little brother Pugsley fears losing his only sibling relationship to the new guy, and shows us that the Addams’ are far more traditional than what their black accouterments and pale grimaces will have you believe.  Shai Tannyan illuminates her character brilliantly and connects us well with that part of ourselves that yearns for authenticity, and inclusion without compromising self.  Meanwhile, Aaron Cadesky brings to life the typical dreamy high school hunk and nice guy that is easy to fall for.  Jordyn Schwartz (Pugsley Addams), reminds us brilliantly how siblings can be our best friends, that keep us connected to our inner child, in order to survive this crazy world, and Jordyn plays the fear of sibling disconnect poignantly well.  All three, hit the mark in depicting the insecurity of youth, and the milestones of evolving into those new frightening cycles of life.

Photo by Raph Nogal Photography.

Micky Myers (Uncle Fester), is a delightful, quirky gem to the cast, and emanates heartily to all of us that spritely unbridled celestial joy that life beholds for each of us.  Dot Routledge (Grandma Addams), illustrates perfectly the imperfect kooky elder Addams, and joins a long list of memorable overbearing mothers from entertainment lore.  Chris O’Bray as Lurch, or the Frankenstein like doorman, does well what Lurch does by scaring us into wanting more of his presence on stage. The ordinary Beineke duo, Mal (Clive Lacey) and Alice (Liisa Kallasmaa), as the regular outsiders, terrified by their prospective new relations, illuminates fantastically the classic theme of meet the parents/in laws.  What both Clive and Liisa do exceptionally (like the rest of the cast), is pour their hearts out through song and script on their character’s weaknesses, yearnings, disappointments, and eventually remove the mask that reveal the beautiful secret that we all yearn for deep down; love.

The thrust stage at the Scarborough Village Theatre may seem small to some, but adds a dimension to this show that is brilliant and proves that with a skilled team, no stage is too small for crafty blocking, and staging.  Add to that, colourful and creative lighting, that is absolutely mystical at times, inviting us in to the magic of this piece, along with the sound, music, orchestra, and beautiful songs sung charmingly, as a show that will capture your heart.  Hats off to Director Cory Doran for proving that local theatre can compete well for quality entertainment, and leave you feeling thoroughly enchanted.  There are so many credits to be given to this show, that if anyone is missed, it’s not with intent. A big mention needs to be made to the modern inserts in the dialogue of this piece which were wonderful, including funny references to kids texting, and modern day politics.  As well, kudos to Choreographer Sabrina Hooper for adding a touch of already made famous pop culture moves in the ensemble dance numbers, which were a pleasant tie in, and added another fun dimension and fit to this brilliantly pieced musical.

Costume Designers Dionne Brown and Mitchell Byrne are to be commended for keeping this frightful cast costumed in garb, already predefined by film and TV that was done in a way that is new and unpredictable, and I would be remiss if I didn’t say that Lurch’s giant platform shoes were mesmerizing.  The makeup team, met their challenge with flair and originality, and is an essential layer to launching this cast’s individual characterizations to full flight.

This isn’t a show just about a zany bizarre family, it’s a show about love, marriage, joy, fulfillment, acceptance, encouragement, and most importantly it’s about being authentic.  Thank you Scarborough Music Theatre for showing that quality theatre of a professional calibre can showcase itself locally, and that some of the most talented actors, singers and dancers walk amongst us.  Favourite line of the show, when Gomez is asked, “how’s life”, he says “too long”.

The Addams Family continues on for two more weekends from February 8 – 11, 15-17, 2018, with tickets available on their website.

Photo by Raph Nogal Photography.

Vanya, Sonia, Masha AND Spike visit Scarborough Players

By Joe Szekeres

To see a play more than once allows audiences to develop a keen insight into the artistic vision and picture the production team wishes to create.  I am certainly looking forward to seeing Christopher Durang’s ‘Vanya, Sonia, Masha and Spike’ which opens March 2, 2018 at the Scarborough Village Theatre on Kingston Road, in Scarborough.  I had the opportunity last winter to visit these characters of Mr. Durang’s quirky comedy in Port Perry, and I am anticipating the Scarborough Players will delve readily head first into this strangely peculiar, comic and, often, sad world of misfits.

Mr. Durang borrows the character names from some of Anton Chekhov’s works; rest assured, it isn’t necessary to read the Russian’s plays for audience enjoyment of ‘Vanya’.  

“Vanya is a well-written play of wonderful characters who are all impacted by the disruption caused by the arrival of the fabulous Masha and her boy-toy, Spike.” director Katherine Turner tells me in a recent discussion. “The comedy and humour are driven by interesting characters in unexpected situations with wonderful writing – so they say hilarious things. Combine timing with specific physical choices and the audience will be on the edge of their seats to listen intently, so they don’t miss anything.”

Several well known professional performers (David Hyde Pierce, Sigourney Weaver) were in the original Broadway production.  I have spoken with some non-professional actors locally who hope to add ‘Vanya’ to their resumes for the interesting characters and distinctive dialogue. So, why the appeal of this play for Ms. Turner?

She is extremely proud of her ‘to die for’ cast and her talented artistic team of many volunteers of designers and back stage assistants, headed by producer Kerrie Lamb and stage manager Angelique Marius. During rehearsals, the collaborative conversation of all stakeholders of this ‘bucket list’ play is comparable to champagne bubbles rising with the cork popping.  The comedy of ‘Vanya’ demands timing which needs great craft and a fine-tuned ear to lift the energy of the story and the dialogue. 

For Ms. Turner, she trusts that audiences will identify with many of the characters who have become stuck. It takes an unexpected arrival into the mundane world of Vanya and Sonia, a disruption of a costume party, the cleaning lady and a new neighbour to have everyone make different choices so they can see each other anew. Durang explores some of the following themes in his work  – the fear of growing older, the regret for the choices we have made, the fear of change in a rapidly changing world with the hope for some joy, and perhaps a Spike. (You’ll understand that last reference when you see the play).

Ms. Turner’s theatrical resume is impressive. She holds a double major in History and Theatre from the University of British Columbia and has been actively involved in community theatre in Toronto for over thirty years. ‘Vanya’ marks her 27th show with this privilege as director.  Producer Kerrie Lamb has performed in community theatre since 2002 and has won a Thea as Best Actress for her work in ‘The Winslow Boy’. ‘Vanya’ marks her first foray into producing.

The cast includes Chip Thompson (Vanya), Deborah Jarvis (Sonia), Martha Breen (Masha), Holm Bradwell (Spike), Carolyn Williamson (Cassandra) and Robyn Deverett (Nina). Ms. Turner sings the praises of her experienced actors with diverse resumes.  She calls them gracious and generous individuals who listen attentively, who are prepared to risk and take chances. What more could any community theatre director ask for?

‘Vanya, Sonia, Masha and Spike’ premieres March 2, 2018 at 8 pm. Performances continue March 3, 8-10 inclusive, March 15 and 16, 2018 at 8 pm.  Matinees at 2 pm will be held March 4, 11 and 17, 2018.  All performances take place in the Scarborough Village Theatre, 3600 Kingston Road, Scarborough.  Tickets may be purchased at the box office before each performance or call (416) 267-9292.  For further information and to purchase tickets online, visit their website.

(Left) – Martha Breen,  (Centre) – Katherine Turner, director   (Right) – Chip Thompson. Photo by Thomas Kowal

The Other Place is at Durham Shoestring Performers

By Paul Love
Guest Writer

The importance of memory, and how it shapes people’s perspectives has been a popular topic in cinema and theatre, as evidenced in films like Memento, Inception, and Rashomon, as well as plays such as Samuel Beckett’s "Waiting for Godot", and Tennessee Williams’ "The Glass Menagerie". Enter Sharr White, whose play "The Other Place" premiered at the Lucille Lortel Theatre in New York in 2011, and is currently being performed by Durham Shoestring Performers at the Arts Resource Centre in Oshawa.

Juliana Smithton is a brilliant neurologist in her early 50s who has changed from working in the lab to working the speech circuit in an attempt to drum up interest in a new medication. And her life is in turmoil — her husband is leaving her and she is struggling in her attempts to reconcile with her estranged daughter. The play opens with her recounting to the audience a touchstone moment in her life, which happened during one of her sales pitches at a neurological convention.

As the play progresses, Juliana takes the audience on a trip through her memories — from the convention speech to conversations with Juliana’s husband, Ian, and Juliana’s doctor, Dr. Teller, as well as phone conversations with Juliana’s daughter, Laurel, and back to the convention. Juliana speaks of difficulties with her health, fearing that she has a brain tumor. She also talks of her attempts to reconcile with Laurel, who ran away from home in her teens with an older man, and speaks fondly of her family’s former summer home in Cape Cod, the titular “other place”.

Ross Libbey is great as Ian, portraying a husband who tenderly struggles to support his wife, despite her outbursts and hurtful comments. He desperately tries to walk the tightrope of maintaining a happy relationship with his wife, while also trying to help her understand the cold reality of her situation. Mr. Libbey’s frustration and grave concern are felt so powerfully in a wonderfully nuanced performance.

Lyndsay Hamilton meets the challenge of tackling the three roles of Dr. Teller, Laurel, and a woman who Juliana meets unexpectedly — this last character being the strongest part of Ms. Hamilton’s performance, where she creates a great sense of confusion, fear, and I’ve-had-the-worst-day exasperation in her portrayal. Jesse Korneiew makes the most of his brief time on stage, adeptly playing a nurse and Juliana’s research assistant, Richard.

Photo by Curtis Lee

Even with great performances from the supporting cast, the success of this show rests in the hands of the actor who portrays Juliana — and thank goodness those hands belong to Nancy Gleed. With her powerhouse performance, Ms. Gleed gives us a Juliana who immediately pulls us in with a confident, conspiratorial vibe that gets the audience to root for her almost immediately. We see a Juliana who speaks in confident, clipped tones that effectively suggest a confidence built up on very unsteady ground. We see a Juliana who becomes sarcastic and dismissive when anyone challenges her, becoming all the more acidic if these challenges persist. We see a Juliana who is awkwardly and desperately attempting to share a positive moment with her estranged daughter. And we see a Juliana who is tired and scared, helpless to fight against the chaos and confusion of her collapsing life.

Director Phil Ireland creates a wonderful sense of fluidity with the blocking he has chosen for this show: we get a sense of parts of the set representing different locations in Juliana’s memory — her home, the stage at the convention, the doctor’s office — and Juliana wanders through them as her mind does. There are even moments where she weaves herself around other characters — even when speaking with them on the phone — giving those moments a sense of memory-like surrealism.

THE OTHER PLACE is at times funny, emotional, heart-wrenching, and poignant. Do yourself a favour and go see this great Durham Shoestring production, being performed at the Arts Resource Centre in Oshawa. Remaining performances are January 24, 25, 26, and 27.

12 Angry Men is next for Ajax Community Theatre, opens Feb 15

By Joe Szekeres

It’s fair to say that a sizable number of we community theatre actors have plays on our ‘bucket lists’ either to perform or to direct one day. I am most grateful to the Ajax Community Theatre for welcoming me, as an actor, to fulfil a personal ‘bucket list’ play in their upcoming February 2018 production of Reginald Rose’s iconic courtroom drama ‘Twelve Angry Men’ produced by ACT’s Sarah-Liis Salonius and directed by Scarborough resident, Kevin Shaver.

Mr. Shaver has been involved with theatre in some capacity for over thirty years. Specifically, he has been involved in the Toronto community theatre scene since 2004 but is not a stranger to Durham Region having appeared in ACT’s production of ‘Bus Stop’ and Whitby Courthouse Theatre’s ‘Moon Over Buffalo’.  For him, Rose’s play has been on his list to direct at some point after he appeared in a production of it with the Scarborough Players.

Dave Edwards (left) in conversation with Director Kevin Shaver (right).

A personal belief of mine is if community theatre actors and technical crew are to grow in their love of the craft and art of live performance, they should relish the opportunity to meet new people and to work with other groups.  Mr. Shaver agrees wholeheartedly.  He explained in a recent conversation that “Each theatre group is unique and have their own mandates, ideas and philosophies. But, at the end of the day, community theatre is comprised of people who love theatre and want to present meaningful and entertaining shows for their communities. Having a strong bond with other theatre groups will only help to ensure community theatre’s immortality. It doesn’t hurt to spread your wings.”

As a community theatre director as well, it has been most enlightening personally to watch the gentlemanly Shaver in action during the rehearsal period for ‘Twelve Angry Men’. He is someone who listens attentively and who knows when to step in during the process. Auditions were held in May 2017 and rehearsals would not begin until December, and there was a definite reason for this decision.  The production team wanted “a cast of experienced actors with sound instincts who demonstrated their desire to get down to business on the first day of rehearsals.”  As an actor, I concur fully on this account. The talent and enthusiasm in this production will explode before the audience to create riveting thought discussion at the conclusion.

Although Mr. Shaver finds comedies to be his favourite genre, every so often he likes to tackle a good thriller and drama. He offered a carefully layered performance as ‘bad guy with a heart’ Mike Talman in Scarborough Theatre Guild’s fall 2017 production of ‘Wait Until Dark’.

“There is no difference between comedy and drama.” Shaver states. “Comedy is tragedy turned on its head, so drama is comedy flipped upright.

(L) Mike Doucette,  (Centre) Shael Risman, (R) Ray Porrill, (Upper Right) Dave Edwards

The draw behind ‘Twelve Angry Men’ (and some might consider a hindrance) is the fact this story is a classic from the 1957 film version directed by Sidney Lumet which featured Henry Fonda and many fine actors of the day.  The plot is extremely well known. Following the closing arguments in a murder trial, twelve sequestered men must decide the fate of a young, inner-city teen accused of the crime. Initially it appears to be an open and shut case, but the one lone juror holdout leads to heated discussion and arguments on a sweltering summer day.

The question might arise if audiences should expect a duplicate production of the film on stage. Mr. Shaver is ready to dispel that the film will not be replicated.  For those who know him, Shaver holds a penchant for the classics and is inspired by them; however, he quickly points out during our conversation that ‘attempting to copy the original would be foolish and just plain lazy. Instead, as a team, this Ajax production will have their own interpretation of the script and, hopefully, will bring fresh and innovative insight into the story.”

The cast of Ajax Community Theatre’s production of ‘Twelve Angry Men’ includes Mike Doucette, Dave Edwards, Daniel Gelbard, Martin Kalin, Peter Mazzucco, Ray Porrill, Shael Risman, Mark Salonius, Paul Sowerbutts, Ian Speiran, Joe Szekeres, Lincoln Trudeau and Tim Westhead. Stage Manager for the production is Teresa Bakker with assistance provided by Daniel Gelbard.

Performance dates for Reginald Rose’s ‘Twelve Angry Men’ will be held at the St. Francis Centre, 78 Church Street South, in Ajax February 15, 16, 17, 22, 23 and 24, 2018 at 8 pm with a 2 pm matinee Sunday February 18, 2018. This matinee performance will also be adjudicated by ACT-CO (Association of Community Theatres-Central Ontario) division.

Further information about Ajax Community Theatre and purchase of online tickets may be found at their website.  Tickets may also be purchased at the door before each performance.

Scarborough Theatre Guild's 'Drinking Alone' is magic onstage

By Joe Szek
Scarborough Theatre Guild certainly took a chance in their Winter 2018 production of Canadian Norm Foster’s ‘Drinking Alone’. I had never heard of this play before, so I had no idea what to expect. A respectable number of Foster’s plays are classified as dramas with comic moments, and ‘Drinking Alone’ is one example. Although the title made me do a double take when I first heard of it, this Saturday night audience appeared to enjoy the story on an extremely cold winter’s evening.

‘Drinking Alone’ opens with the lonely dry-cleaning store operator Joe who has hired escort Renee to role play his fiancée while his curmudgeonly father and book store owner Ivan has stopped by with his wife Phyllis.  Dad wishes to speak to his estranged son and to his problem drinker, television news anchor and daughter Carrie before he and his wife travel overseas.

Personally, and it is not any cause of the Scarborough production, the script for ‘Drinking Alone’ is not as powerfully written as is ‘The Melville Boys’, one of Foster’s earlier plays whose story touches my heart deeply. This is not to say, however, this production of ‘Drinking Alone’ is not worth seeing as there are some exemplary staged moments under the visionary guidance of director Mark Nathanielsz who, as his programme bio states, is no stranger to Norm Foster plays.

The more professional and non-professional productions I’ve been able to see, the more I fully appreciate how much preparatory work goes on behind the scenes to create theatre magic on stage. Stage Managers Diana Czortek and Nitin Mascreen hold the major responsibility to ensure said magic occurs each performance, and I’m certain they both are in place to oversee all are ready to go when cued and prompted.

L – Scott Simpson and R-Tom Macdonald. Photo by Tinglesnaps Photography.

‘Drinking Alone’ transported audiences back to 1995, a mere twenty plus years ago (not that long ago in this old guy’s mind). Steve Noll’s stylised set décor, and his team’s recreation of a living room in bad need of a paint job on the walls with some unsightly misshapen green fabric chesterfield, matching chairs and stand-alone television, nicely sets what kind of furniture single man, Joe, would probably have had in his house. Kudos to the exquisite cabinet resplendent with family china dinnerware.

Vivian Hisey and Gary Prudence’s sound selection of music from the mid 1990s underscores many of the themes of ‘Drinking Alone’. I smiled at a couple of the song selections about family and dysfunction and how they particularly worked extremely well given the themes of this play. Chris Northey and Alan Page’s lighting design and operation beautifully wash across the entire living room and warmly accentuate various playing areas, especially around the dining room table. Maria Steventon and Gloria Worman’s tasteful work in costume, make up and hair design create unique looking individuals who seize the audience’s attention upon their initial entrance.

As in most Foster plays, we are introduced to an ensemble of dysfunctional individuals ripe for a psychiatric session and ‘Drinking Alone’ does not disappoint whatsoever. Mr. Nathanielsz has worked closely with his actors to create naturalistic, believable and realistic characters with all their idiosyncratic tendencies intact. Mr. Foster’s plays require quick witted banter and one-line zingers back and forth to propel the action forward as quickly as possible.

For the most part, these five actors show us the consistent tautness and release of tension given who is in control at any moment. Nevertheless, there were times where the stage action drags since performances here are theatre in the round. When the backs of actors are turned to one side of the audience, it becomes problematic to hear the dialogue. As the production continues over the next two weeks, I’m certain the actors will be mindful of both pacing and enunciation.

As ‘sad sack’ dry cleaner operator Joe, Scott Simpson’s performance tears at our heart strings periodically. Mr. Simpson skillfully uses his eyes to heighten our sadness for Joe. Pay close attention to the moment when he announces in a matter of fact statement to effervescent Renee (Melinda Jordan) that he has no friends. Ms. Jordan’s bubbly performance as the sympathetic escort provides several humorous, unintentional and misinformed circumstantial events of the evening, especially during the Trivial Pursuit game in the first act. Katie Pounder handles the role of Carrie delicately and carefully given the problems that alcohol does provide to many people. Ms. Pounder is to be applauded and commended for not making ‘problem drinking’ comical as we learn more about Carrie’s past rocky relationship with her father.

To play a blustery and vulgar patriarchal father offers older actors a challenge to create a memorable character, and Tom Macdonald rises to this task admirably. According to his programme bio, Mr. Macdonald has returned to the community theatre stage after more than a thirty-year absence, and he offers a carefully nuanced performance as Ivan in the essential information he gradually shares with his grown children.  Elaine Lindo gives a lovely and sweet performance as Ivan’s second wife, Phyllis, who is always trying to mend fences, restore calm, and build bridges between father and children.

Performances of Norm Foster’s ‘Drinking Alone’ staged by the Scarborough Theatre Guild continue January 11-13 (inclusive), 18, 19 at 8 pm and January 14 and 20 at 2 pm at the Scarborough Village Community Centre, 3600 Kingston Road Scarborough. Tickets may be purchased at the box office before each performance, telephone 416-267-9292 or visit the website for further information.

Produced by Alison Overington and Directed by Mark Nathanielsz