Scarborough Village Theatre tees up Norm Foster's 'The Ladies Foursome'

By Joe Szekeres

Norm Foster’s Golden Girls of the Golf Course have teed off for another two-week round of golf at Scarborough’s Village Theatre.

And they’re just as sassy, bitchy, sensitive and adorable as ever.

On the day after their friend, Catherine’s, funeral, Margot (Meg Gibson), Tate (Lucy Clarke) and Connie (Uju Umenyi) gather for a round of golf in honour of their departed dearly loved one. The ladies are joined by a fourth, Dory (Carolyn Williamson), another friend of Catherine’s that they have never met. During this round of golf, there are some amusing moments, some poignant moments, some quiet moments and some angry moments as they all try to piece together where life has brought them and where life is taking them in discussion of various subject matters of friendship, religion, sex just to name a few.

The three-quarter thrust stage of the Village Theatre reminds me of Stratford’s Festival Theatre, and I always wonder how the set design will function. Greg Nowlan’s set design here is terrific. Combined with Reese Brunelle’s projection design up centre of the beginning of the fairway, I felt as if I was transported right to a golf course. David Buffham’s lighting design nicely incorporated the green colour tones. On stage left slightly angled is a bench with a ball wash and small garbage pail nailed to a pole. On stage right is a sign announcing each hole and the par number.

Some reviewers have found that Mr. Foster’s earlier works might be formulaic. The characters find themselves in a ‘slice of life’ setting and moment in time. No matter how dramatic or serious a moment becomes, there is the need to laugh. (sounds like something right out of ‘Steel Magnolias). I prefer not to think of Mr. Foster’s work in this manner; instead, I just want to experience the immediacy of the moment with the characters.

Of course, each character must have distinct outward appearances that will make us remember them. Mary Nowlan, Meghan Clavel and Darlene Thomas’s respective work in costume, make up and hair designs create four unique character individuals who are obviously enjoying their day spent outdoors.

Each time I see this play I smile as a male playwright/author understands the psyche of the female, what makes her tick, what makes her angry, what makes her a woman. Director Katherine Turner has taken Foster’s script and worked diligently with it to create believable and realistic characters who appear as if they have it all together on the outside. Inside, their secrets and ‘hidden pasts’ come to the forefront sometimes hilariously, sometimes poignantly, sometimes angrily.

‘The Ladies Foursome’ is a wordy play and a running time of 2 hours and 40 minutes (with interval), so obviously pacing is of the utmost importance here. We do pay a visit to all eighteen holes of this round of golf. The one challenge behind this play is the transition from one scene to the next – do you go to blackout or somehow can the scene change without the auditorium going dark? The blackout may pose a challenge as it can periodically break focus on the plot and development of the characters. Fortunately, there was enough variety in the scene changes which helped differentiate that time moved forward on the golf course. At this opening night performance, however, the polite clapping from the audience at each scene conclusion broke my focus somewhat and I had to work harder to regain the plot interest and character development.

For this play to work and for the plot to move forward, these ladies must be in tune with each other and secure in their own performances of character development. As construction company owner, Margot, Meg Gibson is spot on in her matter of fact and ‘to the point’ delivery with just a dash of a cuss word each time she tees off. Uju Umenyi is deliciously funny as the on the prowl, cougar newscaster, Connie. Without spoiling what Connie does after her friend is buried, let’s just say I laughed out loud as Ms. Umenyi’s facial expressions said it all.

Carolyn Williamson incorporates the right amount of hesitation at the top of the show as Dory since she just met these ladies only the day prior. There are some wonderful bits where she begins to warm up to the game and to her new friends (the beer drinking with Margot is a riot to watch). Without going into melodrama or histrionics, Ms. Williamson handles the dramatic impact of their common friend, Catherine, with grace, charm and poignancy. As stay at home mother, Tate, Lucy Clarke’s facial expressions added humour to several moments (especially when the secret is discovered about Margot and Connie). Ms. Clarke’s accent is charming to hear; however, there were moments where her enunciation was not clear to my ears and I had difficulty hearing Ms. Clarke especially if her back was turned momentarily. Sometimes, I lost the joke or the zinger that was flung back to the other ladies. As performances continue, I’m sure all the ladies will be mindful of the importance of enunciation.

Final Comments: Congratulations to the Scarborough Players and to this production which closes out their sixtieth season. Get to see ‘The Ladies Foursome’ for a most entertaining time at the theatre. I am looking forward to their sixty-first season.

‘The Ladies Foursome’ runs July 4-6 and 11-12 at 8 pm with matinee performances July 7 and 13 at 2 pm at the Scarborough Village Theatre, 3600 Kingston Road (at Markham Road). For tickets call the Box Office (416) 267-9292 or visit the website to purchase online or further information.

Remembering The Winnipeg General, zietpunk Theatre production review by Joe Szek

By Joe Szekeres

A hot topic of an important Canadian History issue on a very warm evening.

During my undergraduate years at Western, I did manage to take one Canadian History course. Although that was over thirty years ago, I can still recall one of our controversial lectures with the professor who at that time didn’t mind carrying on with the topic at hand. The theme of the lecture:

“Canadian History is extremely boring compared to the history of the United States.”

On a very warm summer evening, I attended zietpunk Theatre’s history lesson on the Winnipeg General Strike of 1919 to see if this statement rings true for the twenty-first century. If anything, writer Thomas McKechnie has certainly done his homework in the creation of a richly, dense text of information performed by Heather Marie Annis and Ximena Huizi in approximately 80 minutes with no interval.

Performed at the Owl’s Club (Bloor and Dovercourt Roads), the story (told in a Brechtian vaudeville style) celebrates the centennial anniversary of the six-week Winnipeg General Strike in 1919 and the uprising of the working class, especially of the immigrants and of the women involved. At times, we enter the world of many of the immigrant workers and their lives, while at other times information is presented to us and we are polled three times during the production to gauge our opinions.

Before the production begins, pianist Jesse Corrigan regales us with music from the era in an extremely warm auditorium. Throughout the production, Mr. Corrigan nicely underscores some of the dramatic intensity without pushing it way over the top. Kristine Schmitt also provided some important vocal work throughout the production. A piano is located far stage right. A banner which the inscription REMEMBERING THE WINNIPEG GENERAL is hanging up centre stage. A makeshift blackboard is also found up centre stage with costumes hanging from hooks on the left and right. Some costume changes take place behind the blackboard.

Mr. McKechnie’s research from my perspective appeared to be quite thorough. He has taken a great deal of information (I’m assuming primary and secondary sources) and created an informative and dramatic script. There were moments where so much information was given that I started to zone out for a few seconds as I didn’t know if my brain could absorb any more. It was also quite warm in the auditorium which probably didn’t help the fact I was starting to lose focus.

Erin Brandenburg did have her hands full in directing this piece as I’m sure a great deal of planning was necessary to keep the pace moving. And yes, she and the actors do keep it clipping along which is important as it does help to maintain our focus.

What really impressed me the most for the evening was the work of Heather Marie Annis and Ximena Huizi. I lost count after awhile, but I got up to twenty characters (divided by 2) which means each lady played at least 10 people plus more. This is quite a feat as the responsibility lies with the actors and the director to ensure they have created believable people. And they did – some of the European accents they incorporated were passable but at times I experienced some difficulty in hearing all the dialogue. Obviously accents plus proper enunciation are of the utmost importance for sound clarity.

I was intrigued in watching how the ladies used the many props to maintain our interest to tell the story of the strike and of the effects and results. A couple of moments were adlibbed with much needed laughter if one of the plasticine figures happened to break apart in the handling.

The audience polling stopped the plot’s momentum dead in its tracks which became problematic for me near the end. A point of consideration perhaps that polling might be cut down either to one or no more than two polls.

I don’t want to spoil the conclusion, but the recounting of what happened after the six-week strike and the movement of the actors, the plasticine objects and items certainly made its point dramatically.

Final Thoughts: So, let’s return to the question that was asked in my Canadian History lecture over thirty years ago. No, I wouldn’t say that Canadian History is boring in comparison the history of the United States. Zietpunk theatre took a chance to bring to life an important moment from our history with parallels that have been made to our current economic status – decent wages, appropriate living conditions, justice and fairness in the workplace. For this reason, it is an important one to see.

‘Remembering the Winnipeg General’ continues to July 6, Wednesday to Saturday at 8 pm at The Owl’s Club, 847 Dovercourt Road. Tickets may be purchased at the door before each performance.

New Artistic & Creative Consultant for Cobourg, Antonio Sarmiento; interview by Joe Szek

By Joe Szek

Antonio Sarmiento will always be eternally grateful for the opportunity to partake in the success at Port Hope’s Capitol Theatre over the last five years. When his contract expired January 1 of this year, he took a short hiatus to re-assess where he was wanted to go next and what he wanted to accomplish in the field of live entertainment.

So many people and many of his Facebook followers begged and pleaded with him not to go far which gladdened his heart as Antonio has put down roots in Cobourg with his family over the past 10 years as a Cobourg resident and proud Cobourg Rotarian. He had explored opportunities in California, Pennsylvania and Florida. He also attended the acclaimed Disney Institute’s Leadership Excellence program, which excited him again in his passion and growth in the business of marketing and business strategies in providing innovative live entertainment.

He then never expected what happened next:

‘I was awarded a position working directly for the Corporation of the Town of Cobourg as Artistic & Creative Consultant to the Town of Cobourg with specific emphasis on the development of live entertainment at the Concert Hall at Victoria Hall. What also drew me to this opportunity is the unique design of the venue and the ability to use technology to enhance everything produced there while embracing the historical elements of this beautiful and historic building.”

Sarmiento compares his new position to boarding a stable ship that has already been at sea (with a fabulous team) at Victoria Hall that just needed a captain to begin the process of guiding her to new ports. He states that he has the marketing, resources and support of the town of Cobourg behind him to create exciting opportunities.

Given fiscal restraints currently in Ontario right now, Antonio has learned how to “stretch a penny” in his words. He’s been down this road before working for Non-Profit organizations and more locally at the Park Theatre and Performing Arts Centre which he leased over ten years ago where he had no funding but great success. What he’s learned from his work at the Park Theatre and his tenure at the Capitol Theatre was the caveat for innovation in an economic manner.

“The evolution of technology plus the skill sets I’ve acquired working with incredible mentors over career my have been a key factor in allowing me to put everything I have learned from Stage to Film to Digital Entertainment to use. The amazing teams I have had around me to execute this vision have also been critical success factors. Working with some of Canada’s top choreographers, Music Directors and performers while creating new ways to produce entertainment has been a great learning experience and I owe a lot to those that have stood beside me and trusted a new vision. When I walked into my new position here at Victoria Hall, I knew I had been here before. New building, similar challenges, but a wonderful new opportunity to evolve a vision I have fostered over ten years, I’ve learned what to do, how to do it and I’m ready to do it bigger and better,” he says.

Antonio comments on the fact Victoria Hall has so much going for it – ticketing services, excellent lighting and sound facilities, a 360 open concept venue which allows for so much development and growth. All of this is prime for innovation, and according to Sarmiento, “innovation doesn’t have to cost millions of dollars.” As revenue comes in, the town of Cobourg could continue to re-invest which will ensure bigger and better events can occur at Victoria Hall. There is a great opportunity here.

I asked him why people might consider travelling east to Cobourg for entertainment rather than travelling to Toronto:

“Northumberland County is very rich with talent. I like to think of it as a big city with a small-town heart. Our new website which is part of ExperienceCobourg.ca will delve further into what the town has to offer. Cobourg has a vibrant arts scene to discover boasting a setting that could not be more magical with the town’s picturesque location on the shore of Lake Ontario. It is the unforgettable backdrop for its majestic town hall, Victoria Hall. The beautifully restored building also houses the Concert Hall, the Citizens' Forum, the historic "Courtroom" and the Art Gallery of Northumberland.”

Antonio stresses the importance of community, liaisons and partnerships in his new position. Since Cobourg is a bigger town, there should always be communication between all venues because as the tide rises all ships go up with it. What has impressed Antonio a lot in this new position is the fact that he didn’t have to try to consider ways of getting youth involved in the community. Victoria Hall already has many opportunities for youth involvement which is an exciting initiative that can be enhanced by his vision.

Whenever I’ve spoken with Antonio, I’m always impressed with his passion and drive to build community, to build bridges and to foster partnerships and liaisons with people and communities. I am most certainly looking forward to returning to Victoria Hall for its many events. If you ever see him on the streets of Cobourg or at Victoria Hall, stop and have a chat with him and you too will catch his passion and drive.

New Canadian Musical'Willow Quarter' premieres July 3 at Port Perry's Town Hall 1873

By Joe Szek

One of many things for which I credit Carey Nicholson, Artistic Director for Theatre on the Ridge, is the fact the company is always willing to take risks artistically. She calls the summer festival an incubator for new artists and new works which has developed into a creative, cultural and theatrical identity unique to the tourist town of Port Perry.

Coincidentally, ‘Identity’ is the major theme which links all the plays for Theatre on The Ridge’s summer slate at Town Hall, 1873.

“Identity is important for all of us to know either as an individual or community. We take pride in the presentation of the diversity of our slate this summer as this sense of identity will anchor us to stay the course in the changing landscape of our world.”

Theatre on the Ridge opens July 3 with the premiere production of a new Canadian musical, ‘Willow Quartet’, which has been adapted from the 2013 stage play by the same name written by Richmond Hill playwright, Joan Burrows. A preview performance will be held July 3 with the opening and opening night reception on July 4, sponsored by The Courts of Canterbury.

And how is this theme of identity reflected in ‘Willow Quartet Musical’. Although Ms. Nicholson calls the story simple and straightforward, there is more underneath:

‘This play concerns a rural family’s recovery from a family tragedy and finding their way back to their strong roots. Just as trees are split asunder by devastating events, this family needs to come back together. The story is heartwarming. It speaks to people who have gone through similar events. It is set in a small rural farm community in Ontario and also speaks to those who have grown up in those communities.”

By 2015, there was a great deal of positive audience response about the original play. There was production feedback and discussion between Ms. Burrows, retired Theatre Ontario adjudicator Ron Cameron-Lewis and Jason Saunders, which led to extensive workshopping of the music at Sheridan College where Messrs. Cameron-Lewis and Saunders are faculty members. The musical production staged by Theatre on the Ridge this summer is the result of this workshopping. Another interesting side note I discovered – ‘Willow Quartet Musical’ was also one of three finalists for the Best New Musical category in the national Tom Hendry Awards, awarded annually to Canadian plays and playwrights.

Carey Nicholson is the stage director of ‘Willow Quartet’. She is so excited to be working with Ms. Burrows, Messrs. Cameron-Lewis and Saunders. Music director for this production is Port Perry resident Carol Salamone whom Ms. Nicholson calls, “a creative individual who can find the essence of something. Carol is adept at looking at something and not taking it at face value. She will work at it to show it to its’ best advantage along with presenting the artists at their best.” Literally, Ms. Nicholson and Salamone will work hand in hand to bind the text and the score together for this inaugural presentation.

The cast of ‘Willow Quartet Musical’ includes Lyle Corrigan from Port Perry, Chris Daniel and Nathan Simpson from Whitby and Roz McArthur-Keyes from Enniskillen with guest artist Ashlie White from Toronto.

‘Willow Quartet Musical’ premieres July 4 at 7:30 pm (opening reception at 6:30 pm) with a preview matinee Wednesday, July 3 at 2 p m. Performances continue July 5, 6, 9, 10 and 12 at 7:30 pm and July 13 at 2 pm. Tickets are now on sale at The Town Hall 1873 Box Office from $25-$35 with senior/student pricing and group discounts available. For more information and to purchase tickets online visit the website.

A Laugh-Out-Loud Raucous Ride - Second City Presents 'Walking on Bombshells'

By Paul Love
Guest Writer

Second City is a world-famous comedy enterprise that has been around for 60 years, and thankfully doesn’t feel the need to rest on its laurels, as evidenced by their 82nd mainstage revue, Walking on Bombshells.

Smartly written and brilliantly performed, Walking on Bombshells is sketch comedy at its best. Director Chris Earle and Assistant Director Ashley Botting keep the action fast-paced and well-choreographed with razor-sharp comedic timing, making full use of the set. And what a set it is! Bob Knuth’s gorgeously detailed TTC subway platform is the perfect backdrop for a show that is mainly about modern life in Toronto.

Photo by Paul Aihoshi.

It is the writers and performers — Nadine Djoury (whose performance on this night was adeptly handled by touring company member Jillian Welsh), Stacey McGunnigle, Sharjil Rasool, Allana Reoch, PHATT al, and Chris Wilson — who truly make this a night to remember. Every member of this troupe commits fully to these sometimes zany, sometimes poignant, and always hilarious scenes that range from a few seconds to a few minutes, and are wonderfully, painfully relatable. Standout moments include: Chris Wilson’s hilariously accurate and dialogue-free performance of how everyone looks while browsing an art gallery; PHATT al laying into his doctor about body-shaming; Allana Reoch repeatedly waking up from all-too-familiar political nightmares; Sharjil Rasool excitedly bragging about purchasing a condo as the horrible reality of the situation sets in; Stacey McGunnigle doing top-notch drunk acting as a woman down in the dumps about her birthday; and Jillian Welsh as an Air Canada flight attendant announcing everything from beverage choices to turbulence in both English and French.

These six performers showcase their comedic skills throughout the show as they skewer hot-topic issues like cannabis legalization, predictive text software, and Netflix fatigue. The troupe discusses things we think about but often don’t speak of out loud — like race, gender, and body image — to hilarious effect. The material is very definitely adult-oriented but without ever being unnecessarily raunchy, or ever feeling the need to lazily pepper the dialogue with foul language. You will laugh, you will think, and you will never hear the words “lemon chicken” the same way again.

If you’re in the mood for a night of smartly written, riotously funny sketch comedy, check out “Walking on Bombshells” at Second City, located at 51 Mercer Street in Toronto. The show is performed every Tuesday through Thursday at 8 pm, Fridays and Sundays at 7:30 pm, and Saturdays at 10 pm. The show closes August 11th. Tickets are available at the door, by calling (416) 343-0011, or by visiting the website.

Photo by Paul Aihoshi.