Durham Shoestring Performers 'Tomcat' reviewed by theatre top cat, Joe Szek

By Joe Szek

DSP brings James Rushbrooke’s first play of the ‘not too distant future’ of genetic screening, along with its moral and ethical implications, to the intimate stage of Oshawa’s Arts Resource Centre to close out the 45th season. ‘Tomcat’ is a science fiction drama set in the not too distant future where the world believes it is perfect and has mostly succeeded in wiping out all genetic diseases through mandatory screening to detect genetic abnormalities of any kind, and then terminate them.

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Theatre Passe Muraille: 'Crying Hands' will move you to tears - review by Peter Mazzucco

Peter Mazzucco
Guest Reviewer

I have never witnessed such powerfully emotional theatre as I have at “Crying Hands: Deaf People In Hitler’s Germany.”

This docudrama by playwright and director Bentein Baardson is a warning cry for humanity to take a stand when evil reveals itself. Crying Hands uses stories sourced from interviews with ten deaf survivors of Sachsenhausen and Auschwitz, living in Israel.

The performance includes two actors, a sign language interpreter and a narrator who presents historical facts by way of sign language.

Photo courtesy of Theatre Passe Muraille

Hans is a deaf German Christian born to a working-class family. Because of his love for motorcycles and a desire to belong, Hans becomes a member of the Nazi deaf Storm Trooper unit that participates in a parade to welcome the new Chancellor of Germany to his town. The division is ultimately disbanded because imperfect beings such as the deaf have no place in this new Germany. He is sentenced to a labour camp, Auschwitz, he goes, however, happy to help the Fatherland.

Hans’ story is of one who desire to belong, caused him to ignore the atrocious actions of the group he wanted to be in. As he reflects on his time in Auschwitz, Hans realizes that evil begins with a lack of empathy, including his own.

Hans is played with tremendous force and energy by Ronny Patrick Jacobsen. Dressed in all black, Jacobsen conveys the complex emotions of Hans with his dynamic signing, broad body movements and facial expressions.

Ipek D. Melhum plays Gertrude the only daughter of an influential German family, her father a doctor. After graduation from the University of Berlin, rare at the time for a woman, Gertrude becomes the leader of the committee responsible for the Eugenics project. The project’s purpose was to improve the human race by scientific means but it becomes a dilemma for her when a revelation disrupts her life.

Ms. Melhum performs with passion and aplomb as Gertrude transforms from a buoyant, ingenuous woman to a desperate and scared imprisoned woman full of shame and self-loathing. Her movements as she relates her story are passionate and fervent. Her facial expressions are compelling and she delivered a heart-felt performance.

There is an accompanying projection of photographs designed by Simon Valentine. The images cast on the back wall of the stage added graphic impact with relevant historical references.

Erik Hedin created an effective sound design: I was jarred from my seat when the bombs went off. Lighting designer Torkel SKjaerven’s use of colour augmented the moods conveyed by the actors.

At the conclusion of Crying Hands I was moved to tears. I pondered the line “Those who cannot remember the past are condemned to repeat it.” and wondered if it is ever going to be possible to fully understand Auschwitz?

Crying Hands: Deaf People In Hitler’s Germany is a Theatre Passe Muraille Presentation of Theatre Manu Community Engagement Partner the Deaf Culture Centre. It closes Mar 23 2019.

Stage Centre Productions' 'Blue Stockings' - review by Joe Szek

By Joe Szek

As I sat watching the opening night performance of ‘Blue Stockings’, I began to think how fortuitous this play stands given the recent context of events in our federal government. Ms. Swale’s play chronicles the battles fought over 125 years ago to earn women the right to graduate from Cambridge University’s Girton college. In 2019, three women from our federal government are fighting battles within the governing Liberal Party over the SNC/Lavalin affair.

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Theatre Passe Muraille presents 'Chico' - review by Joe Szek

By Joe Szek

I was pleased upon my arrival at Passe Muraille and being told the production is not pronounced ‘Chico’ as in Chico & The Man but ‘Cheech’o (as in comedians “Cheech & Chong”). I am hoping you are old enough to remember these two references. Mr. Bitter also refers to this fact at the top of the show.

Theatre Passe Muraille has billed ‘Chicho’ as “an ashamed-queer-Catholic-man-boy from Venezuela who hilariously attempts to feel beautiful despite his warring identity politics”. So much inferred within this statement that I had no idea what I was about to see; however, what I’ve been discovering lately is the theatre of which I know nothing about leaves an indelible mark. This was my first visit to Passe Muraille so I was looking forward to attending.

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Whodunnit Done Right — Scarborough Theatre Guild Presents Agatha Christie’s The Mousetrap

By Paul Love

In order for a theatre show to claim the title of Longest Running Play in History, it needs to be entertaining. And if it’s a murder mystery, it needs to be intriguing. Thankfully, Scarborough Theatre Guild’s production of Agatha Christie’s The Mousetrap is all of this and more.

For those who don’t know the story, the action takes place at Monkswell Manor, a recently converted guest house located in the remote countryside in England. As the play opens, it is revealed to us through a radio report that a woman has been murdered in London and the killer is still at large. The proprietor of Monkswell, Mollie Ralston, and her husband, Giles, arrive at the manor amidst a raging snowstorm and quickly prepare for the arrival of their guests. The four expected guests begin to arrive. They are followed by two unexpected visitors. Ultimately, the stage is set with eight people trapped in the guest house, who soon discover that one of them is the killer.

We get an immediate and powerful sense of setting with Mike Scott’s smartly designed and gorgeously decorated set. The ornate fixtures and the comfortably worn furniture and rugs, combined with David Buffman’s excellent lighting design, give the audience a sense of a warm, cozy retreat, which contrasts powerfully with the chilling spectre of murder.

Director Chelsea Jones stages the production expertly, ramping up the action to a sense of urgency in just the right moments, and then bringing it back to earth in between those moments. She balances the action nicely between the two sides of the room, and she uses the second floor sparingly but effectively.

Photo by Julie P. Adams.

As with most murder mysteries, the characters usually have a lot more going on that what we initially see, so a talented cast is needed to pull it off. Ms. Jones has assembled a troupe of actors who are more than up to the challenge.

Mackenzie Potts’s performance as Mollie Ralston is nothing short of revelatory. She whisks herself about the stage, trying to make sure everything is perfect, struggling to keep the peace amongst the guests and with her husband, often flabbergasted, but always in control. Ms. Potts has created a riveting and believable character who is instantly likable, and has us rooting for her from the get-go.

Giles Ralston, Mollie’s partner in marriage as well as running the guest house, is played with such luxurious charm and fervor by Nick Saraf, that it is easily understood why Mollie trusts him implicitly.

Abram Taylor creates a kooky man-child with his hilariously eccentric portrayal of Christopher Wren. Mr. Taylor’s complete commitment to each moment easily allows him to steal scenes throughout the show, without ever making the character more than it should be.

Patricia Byrne’s take on Mrs. Boyle is the perfect grumpy, fussy, older Englishwoman, with her spot-on sense of entitlement and superiority, making for an enjoyable performance.

David Cooke truly embodies a disciplined, militaristic upbringing with his stern disposition and clipped tones whenever he chooses to speak.

Carina Cojeen creates a truly enigmatic character with her portrayal of Miss Casewell, infusing her with a sense of adventure and intrigue, while managing to make her seem guarded at the same time.

Stephen Flett gives a wonderfully energetic performance as Mr. Paravacini, one of the unexpected arrivals at the manor. Mr. Flett allows his character to walk a tight rope between gregarious and mysterious.

The other unexpected guest, Detective Sergeant Trotter, is played to great effect by Kai Novak, giving Trotter a strong sense of duty, tempered with warmth and sincerity, as he struggles to reveal the killer’s identity before tragedy strikes.

If you’re in the mood for a classic murder mystery — played with great humour as well as intrigue — get yourself to the Scarborough Village Theatre, 3600 Kingston Road. Remaining performances are March 14, 15, 16, 21, and 22 at 8 pm, and March 17 and 23 at 2 pm. Tickets are available at the door or visit the website.