Shakespeare’s 'A Musical Midsummer Night’s Dream' by Driftwood Theatre Group

By Dave Rabjohn
Guest Reviewer

Shakespeare’s legacy runs more deeply than just the genius of his drama and poetry. It is also a palette for future generations of creativity. Driftwood Theatre Group, celebrating their 25th anniversary and creatively piloted by D. Jeremy Smith from its inception, is one of those generations. Driftwood has a long history of bending Shakespeare to new ears and entertaining audiences with bold new insights and stagecraft. A Musical Midsummer Night’s Dream, opening this week at the luxurious Parkwood Estate in Oshawa, is a full example of that boldness.

The heart of this production is music – a staple in all of Shakespeare’s comedies. Composers of the original music are Kevin Fox and Tom Lillington. The array of musical styles represented is astounding – motown, soul, calypso, reggae, doowop, torchsongs, and even some Dean Martin! This sounds like an awkward cacophony, but the music was blended into a comfortable weave that highlighted both story and emotion. Entirely a cappella, the blend was mainly supported by background vocals from the entire cast. The heart of that background, though, were two dedicated vocalists who acted almost like a musical Greek chorus (Athenian pun intended) offering both beautiful singing and vibrant percussive support. Alison Beckwith and Tom Lillington (aforementioned composer) elevated this production.

Song highlights include the scene where Oberon (James Dallas Smith) and Puck (Ahmed Moneka) are plotting mischief. Both with full-throated voices they whip up the audience with both soul and rock – Mr. Smith very much in a Jim Morrison motif. They portray two of the coolest dudes you would love to spend a night with in a bar (but you best watch your wallet.) In the second act, Mr. Moneka’s “Up and Down” song is clever and memorable as he manipulates the lovers with fake voices.

L-R: Nick Dolan and Kelsi James. Photo by Dahlia Katz

The plot covers three main groups. First the Athenian leadership parallels the Fairy world leadership. Next is the group of four lovers and then the working class “mechanicals.” The four lovers, fearing generational angst, run into the forest of Arden on their way to matrimonial bliss. This is the world of the fairies led by Oberon, Titania and the scheming Puck who manipulate the lovers into various conflicts which they eventually pass off as a dream. Both Lysander (Nathaniel Hanula-James) and Demetrius (Nick Dolan) are in love with Hermia (Marissa Orjalo.) Helena (Kelsi James) is jilted and chases after Demetrius. The four work brilliantly as a mini-troupe posing with ostentation. Some of their best work was physical as they choreographed fight scenes and wild chases. Puck is directed by Oberon to employ a love potion to help the four lovers, but it goes awry with the usual mistaken identities in Shakespeare’s comedies. Puck reverses his errors and all is happy in love and marriage.

A subplot deals with the “mechanicals,” an earthy band of labourers representing the lower class which feeds into Shakespeare’s themes of class distinction. Looking for money and fame, they desperately apply to perform a play for the upper class marriage revels. Completely devoid of talent, the audience laughs harder the more seriously they take themselves. Their final performance make the Three Stooges look like Juilliard graduates. The clever decision to double each actor’s parts feeds into the strong contrast between the more refined Athenian citizens and these naïve clowns. Each actor is well-acquainted with both sides of the fence which pushes them to work hard at the contrast. The result is brilliant. Snug (Marissa Orjalo) has wide, blinking vacant eyes as she totters about – I wouldn’t let her near anyone’s electrical panel. Snout (Nick Dolan) races about as a hunchback unclear of any direction. Kelsi James plays Quince with great misguided leadership and is constantly overcome with emotion. Bottom, played by veteran Steven Burley, leaps into the role with all the awkward gusto you would expect. A highlight is Bottom’s inane indifference with the sultry beckoning of a randy Titania played convincingly by Siobhan Richardson.

Many thoughtful decisions (made by director Smith and probably some of the cast) further enriched the production. The simple multi-level wooden ladders gave a series of levels for the fairies to work their magic from on high. The use of iphones to augment the lovers’ vanity or GPS to infer travelling confusion gave a contemporary twist – why fight the machines? Use them. Sight gags such as Bottom enjoying a chew on Titania’s hat fits with the fun.

The actors bravely soldiered through some spotty microphone difficulties supporting each other with voice and body language. They should also be complemented for the many miles put in as they circled the sprawling Parkwood making entrances from many directions. Stage managers were equally well-travelled.

Puck’s final verses consider “if we have offended” the audience. Clearly not as they have both delighted and astounded. The “Bard’s bus” will be travelling throughout Ontario over the next six weeks and they will be spreading purple love potion everywhere they go.

Ticket information at www.driftwoodtheatre.com

Guild Festival Theatre presents 'Anne' under Greek gables - review by Joe Szek

By Joe Szekeres

Another foray into outdoor summer theatre this time at the Scarborough Guild Gardens and its Greek amphitheatre. I had seen pictures of this spot but never had an opportunity to visit here. Just like 4th Line Theatre, I would also like to return to these gardens for another production soon.

The Guild Festival Theatre presents Paul Ledoux’s ‘Anne’, an adaptation of L. M. Montgomery’s classic ‘Anne of Green Gables’. An interesting side note is this script premiered at Toronto’s Young People’s Theatre over twenty years ago. Additionally, Mr. Ledoux’s script also transitions between the present and the past. We see the older Anne (who returns home possibly to teach) and her friends, and we also see them when they were younger.

If you have read the novels, seen the musical or watched the CBC television series with Megan Follows, you do know the barebones of the story. Obviously, all events cannot be presented in a play of two hours and thirty minutes with interval. Older siblings Matthew and Marilla Cuthbert (Michael McLeister and Elaine Lindo) await the arrival of a young boy to help Matthew around the farm. Instead, it is the young orphan Anne Shirley (Claire Boudreau) who shows up in Avonlea. Although Marilla is none the pleased, she consents to having Anne stay for the time being rather than send her back. Throughout the production we also meet some of Anne’s friends and classmates – Diana Barry (Ailya Hamid) Ruby Gillis (Izzi Nagel) and Josie Pye (Lauren Wolanski). And there is also the dashing young Gilbert Blythe (Bryan Kling) whom we assume in future stories will provide a future love interest to Anne. We also meet neighbour Rachel Lynde (Carmen Paterson), the town busybody and know it all.

Sitting in an outdoor theatre allows for the use of audience imagination with a minimalist set. There are two trellises with flowers and a train station sign AVONLEA to let us know we are in Prince Edward Island. Miranda DiFlorio’s work in assorted set and props are brought on and removed by the cast during the scene changes. Thankfully there were no cumbersome pieces to slow down the pacing. Simon Flint and Ms. DiFlorio’s selection of costumes nicely evoked the east coast fashion and style of the early twentieth century. Musical interludes and songs also help in the transitions from scene to scene which works well in pacing of the play courtesy of composer and Music Director Alex Eddington.

A production in an outdoor setting will have to capture and hook an audience’s attention span completely. It was a small audience the night I attended. The company came out to sing at the opening and then asked for audience participation to get the story going. I’m not really a fan of being part of the production since I’m here to watch. It’s the actors’ responsibility to get the production going. In any case, it could have been nerves as the response from the audience was quiet and that seemed to throw the actors a bit at the top of the show for a few minutes. Fortunately, they did find their stride.

Directors Helen Juvonen and Tyler J. Seguin had the tremendous responsibility to make sure we must still care about this Canadian icon in our culture scene. In their Directors’ Note, they state, “We need a ray of light and Anne reminds us of the transformative power of love, friendship and community.”

And this production does that for the most part. There are moments where it stalls slightly, and the actors must work hard at regaining the momentum. As performances continue, I’m positive this temporary lapse will pick up tremendously.

As the young heroine, Anne, Claire Boudreau’s smile says it all. Ms. Boudreau has quite a task in her performance. She must show the young, spirited, fancy-free, imaginative Anne who gets into trouble periodically while also showing a mature adult Anne who waits for the decision of where she will teach. Ms. Boudreau responds to this task successfully. I found her believable in those moments where she shows her youthful stubborn nature especially in her arguments either with Marilla or the incessant teasing by Gilbert Blythe. We then see her adult response in how she handles what happens regarding her teaching position.

As potential love interest Gilbert, Bryan Kling is a clean cut, dashing, boyishly charming young man who shows us there might be more than just potential teasing and flirting with Anne by the end of the play. Mr. Kling also transitions smoothly between youth and adult successfully in the same manner as Ms. Boudreau.

As Anne’s friends, Ailya Hamid, Izzi Nagel and Lauren Wolanski are wonderfully giddy and girlish in these three important supporting roles. These young ladies are the ones who help Anne transform to the mature young adult she is to become later. Vocally, these young ladies sound terrific when they are singing during the various scene changes.

The adult figures in the play are also very important in Anne’s growth. As busybody, know it all and stern Rachel Lynde, Carmen Paterson assumes the task with force and gusto. She certainly does show who is boss when she has her initial argument with Anne and her appearance. Near the end of the play, we do begin to see a softer side that Ms. Paterson compassionately shows regarding Anne’s first real dress.

As the soft spoken, gentlemanly Matthew Cuthbert, Michael McLeister has a Gordon Pinsent quality about him in his initial introduction. To my ear, he has captured quite nicely the east coast accent. There is a nice personal chemistry throughout between Mr. McLeister and Ms. Boudreau especially in the moment when he tells Anne she is not grounded after Marilla leaves.

As regal matriarch of the house, Elaine Lindo has another monumental task in her performance. Marilla is the one who must sometimes make the tough decisions of daily life and maintain her feminine dignity while her brother Matthew will go along with whatever his sister says. Ms. Lindo again is up for the task as she does appear regal on stage while maintaining her feminine composure; however, there are moments where her continual hand wringing and clenching became a tad bothersome for me. Such action would show potential weakness. There is nothing wrong with this action if it is used sparingly and in the right context. Ms. Lindo will have to be aware of this movement and try to control it more.

Performances of ‘Anne’ continue to August 10 at 201 Guildwood Parkway in the Scarborough Guild Gardens at 7:30 pm. Tickets are available before each performance. You also visit their website for further information.

Theatre on the Ridge - "Tempting Providence' a tempting proposition - review by Joe Szek

By Joe Szekeres

A small picture of our Canadian History came fully alive on the Town Hall stage in Port Perry at Theatre on the Ridge’s preview performance of Robert Chafe’s ‘Tempting Providence’. To borrow from ‘Come from Away’ now playing in Toronto, we were heartily and warmly welcomed to The Rock in this story of a remarkable woman who brought her vision of tending to those in need in a small out port Newfoundland community.

‘Tempting Providence’ is a part of our history of which we can all be deeply proud thanks to director Jeannette Lambermont-Morey’s intelligent and smart direction based on real events in a real person’s life. She has assembled a cast of highly capable performers who naturally made me believe every single word they had spoken. You’ll have to pay careful attention as these actors realistically incorporate the East Coast dialect sound and rhythm of Newfoundlanders with such ease that I honestly believed every single one of them came from the province. We might not be able to understand every single word but that’s real life when we listen to a true Newfoundlander speak. We can get the gist.

And I got the gist. And was hooked.

Frances Loiselle, Duncan Gibson-Lockhart, photo by Barry McCluskey

Young British nurse Myra Grimsley (a radiant Frances Loiselle) ‘tempts providence’ by taking a risk in an assignment to a remote community in out port Newfoundland shortly after WW1. Initially, she has agreed to be here for two years. She meets her future husband, Angus Bennett (a dashingly affable Duncan Gibson-Lockhart), and makes the decision to stay with him even after her contract expires. Demi-Lee Bainbridge and Daniel McCormack play multiple roles of neighbours, patients and townspeople who enter the lives of the remarkable Myra Bennett and her work in the small community. There are some amusing times as Myra learns how to adapt to life outside of her home. I don’t want to spoil the fun for future audiences.

A sound choice was made to utilize musicians Manon Ens-Lapointe and Michael Williamson who helped to set the mood for fifteen minutes downstairs in the Patrons’ Lounge before the performance began. During the run of the play, music is also used and I was reminded once again how it seems to be in the blood of the east coast residents. The staging of the kitchen party brought a smile to my face as I would love to attend one sometime soon. Ms. Ens-Lapointe and Mr. Williamson appeared to enjoy themselves, and that made me enjoy hearing them play.

Carey Nicholson’s set design makes effective use of the playing space. There is a large riser centre stage with a table just slightly off centre. Surrounding the riser are various props and chairs the cast uses for each scene. The cast never leaves the stage but sits either to the right or left side when the scene doesn’t focus on them. Colin Hughes’ lighting design finely transitions us between each of the scenes without that awkward blackout. Judith Sanders and Sheila Nicholson’s work in costume coordination and construction nicely evoke the earth tone colours of the period.

Frances Loiselle’s work is captivating while radiating a true commitment in playing and understanding the complex Myra Bennett. Yes, Myra is all business like and formal when she receives her first patient who tries to make fun of her in that she won’t survive the rough winters. I especially liked how Ms. Loiselle was in firm, tight control when she tells the patient who exactly is in charge in her office. As Myra and Angus’s relationship continues to grow, the silent looks of caring and compassion between Ms. Loiselle and Mr. Gibson-Lockhart said everything to me without either of them needing to say a word to each other.

There is a highly dramatic moment in Act 2 where Loiselle, Gibson-Lockhart, Bainbridge and McCormack successfully tugged at my heart. I had to put my pen down from making notes in my book and simply watch what unfolded. Truly gut wrenching to feel the emotional intensity emanating from the stage. And this was a preview night. I can only imagine that moment will continue to build stronger and stronger as the run continues.

For more information see their website.

Take Me Out to the Improv by Toronto's Second City; review by David Rabjohn

Guest review by Dave Rabjohn

Improvisational theatre, by its nature, is organic. A seed is planted during an improv night and then it grows, makes twists and turns, gets polished and recreated as a sketch. This process is called “process.” Sorry, the jokes are best left to the troupe. The outcome is another riotously funny program, Take Me Out to the Improv, from Second City in Toronto. The production runs through to October and there is a rumour about a travelling show.

Second City Toronto is almost 50 years in the making, from its roots in The Royal Alex, to the Firehall and on to the brightly designed Mercer Street location. Part of the fun is the hallway experience with every square inch of wall covered with iconic black and white photos depicting stars past and present. Even on a washroom or barroom run, one can’t help pause and reminisce about the vaulted talent frozen on a wall – numerous stars that are household names – they need not be listed here. Waiting for the curtain, video images take us through a sometimes irreverent trivia game again giving us that sense of wonder and even pride over the vast Canadian talent. Enough sentiment! This present cast sparkles and they will have to widen the hallways.

Clare McConnell, Andy Assaf, Matt Folliott, Nicole Passmore, Christian Smith and Jillian Welsh have diverse backgrounds that range from comedy acting, writing, film making, television work and even teaching. This array of experience propels the show – energy, wit, timing and creativity (all staples of improv work) was in abundance. Improv requires a delicate balance of both giving and taking – not just making a strong contribution, but also patiently reacting to the contributions of others. This balance was demonstrated with a tight, crisp and hilarious program.

Spoiler alert is perhaps not the right term since improv usually means each show is a snowflake, but we will consider some highlights. A speed dating sketch with brainiacs Clare McConnell and Andy Assaf went full tilt crazy. As they out-dueled each other with their intelligence, it instilled physical arousal at the same time. The physical humour became riotous as bells went off each time an Einstein salvo hit their genitals. The sports motif was introduced with a father and daughter trying to enjoy a Blue Jays game beside a crusty, long beleaguered fan. Jillian Welsh was brilliant as the nine year old. With a range of convincing voices, she played the nine year old, a Guys and Dolls Miss Adelaide and a feisty street tough. A mustachioed Matt Folliott (November was the only month he took it off) was brilliant as the old codger who turns out a hero.

Nicole Passmore is a standout throughout. Her marquee character was Pamela Ballin, the PC candidate from Whitby. Her nuances as a shifty politician were brilliant as she leaps from hypocrisy to hypocrisy without embarrassment. Ms. Passmore was often the lead hand in many of the sketches. One of the final highlights was with Christian Smith and Jillian Welsh playing a sombre couple just trying to get through the U.S. border. Andy Assaf sits on a high stool and looks down upon them as the unwelcoming border guard. The hilarity comes from the intimidation in the form of no dialogue. The stagecraft of Mr. Smith’s physical prowess elevated the scene – with darting eyes and quiet head bobs he was a picture of nerves. Ms. Welsh’s cheerleader demeanour was a brilliant contrast. The audience roars as he slowly crawls out of the tightly parked car and comes nose to chest with the cop. The scene ends with side splitting marital discord.

Mark Bond, a Second City veteran, is the musical director for this production. He has a wealth of background in composing, improvising, and teaching. His role is to be as dexterous and creative as his acting partners. This he did brilliantly as he also doubled as the sound effects designer. The haunting sounds of the aforementioned border scene were effective in replacing the dialogue. First-time director Nigel Downer must have felt blessed with the fantastic cast. His job of tethering the circus must have been fun!

Don’t miss the after show where more pure improvisation takes place and the audience becomes even more involved. You may just become a part of the next seed that will develop into future fun. Tickets at the website. The show runs through to October 2019.

(Edited to change art July 26 2019)

Theatre on the Ridge production 'The Wind in the Willows' gives flight to fantasy - review by Joe Szek

By Joe Szekeres

Last summer, I remember writing how Theatre on the Ridge’s production of ‘Peter Pan’ made me re-think my personal bias of theatre that I thought was only deemed for children. I wasn’t stuck on J. M. Barrie’s classic story, but last summer’s play at Town Hall 1873 made me realize that I needed to re-visit classic favourite stories of children and adults that have been adapted for a live stage production.

Canadian director, writer and artistic director Michael Shamata has adapted Kenneth Grahame’s perennial ‘The Wind in the Willows’ currently on stage at Port Perry’s Town Hall 1873. His adaptation with direction by Barry McCluskey and members of the ‘Wind’ Company is great fun to watch. There are several clever unique elements at work here.

For one, each of the actors plays an animal, but they are dressed as people from the early twentieth century in Victorian England. We meet Rat (Ian Cameron Williams), Badger (Jack Copland) and Mole (Demi-Lee Bainbridge) who tolerate the sometimes-reckless behaviour and antics of their friend Toad (Daniel McCormack). Toad gets himself in trouble with the evil Weasel (Frances Loiselle) who wants to take over Toad Hall. Throughout all this mayhem and mischief, we meet other characters: Otter (Michael Williamson), Skunk (Billy Keefer), Tommy (Barry McCluskey) and others.

A child like Imagination and suspension of disbelief are of extreme importance to watch this production. It is a closed curtain on our entrance but there is a tree trunk stage left. As the curtain opens, aqua blue fabric runs along the stage angled to create the effect of water. I loved the Flintstone looking boat and car (courtesy of Andy Williamson) that were used to transport characters either across the river or down the lane where Toad drives recklessly. Colin Hughes’ lighting nicely illuminates all areas of the playing space. Effective work by Judith Sanders and Sheila Nicholson in costume coordination and design of each unique character. Debbie Beggs’ hair and make up effects smartly delineate each of the characters for us.

Ian Cameron Williams and Demi-Lee Bainbridge - Photo by Lexi MacRae

A Sears Drama adjudicator once told me years ago that it is difficult for a director of a play also to appear in the production as a cast member. Why? The director must be able to be that third eye component to watch all elements of the production. I would say yes that’s probably true; however, for this ‘Wind’, incorporating a company effort has kept things interesting to watch, to hear and to listen.

Barry McCluskey probably wanted to ensure the show’s pacing clips along and doesn’t drag. I found at this opening night performance it didn’t occur whatsoever. As soon as one actor exited the stage, another appeared immediately or there was an appropriate light and sound cue to move things along. Michael Williamson’s original musical composition evoked for me the kind of lyrics and odes that we could have possibly heard at the turn of the twentieth century.

For a period British play to feel authentic, and which must speak both to child and adult, the actor must have a solid hold not only on character development but also on voice, diction, enunciation, all peppered with a British/European accent. To my ears, I felt as if the cast had sustained believably that British lilt to the ear. To borrow a well-known adage, Demi-Lee Bainbridge is as ‘cute as a button’ as the myopic Mole. There is a gentleman like quality about Ian Cameron Williams’ portrayal of Rat. Whenever I hear the word ‘rat’, I sometimes think of a sleazy like character, but Mr. Williams plays him more than that.

Daniel McCormack is delightful as the self-indulgent, at times boastful Toad. Mr. McCormack’s wide eyes when Toad is in trouble convey so much without saying anything. His escape in front of the closed curtain from Frances Loiselle’s sinisterly melodramatic Weasel reminded me of some great escapes from feature films. A charming Jack Copland as Scottish Badger (in a kilt nonetheless) drew my attention immediately each time he entered the stage. Loved hearing Mr. Copland’s natural sounding accent as it clearly made him distinct from the others. His make up effects from my seat in the house are remarkably define his facial features each time he speaks.

Final Comments: Delightful entertainment for the summer and one to bring children and introduce them to the world of live theatre.

Theatre on the Ridge’s production of ‘The Wind in the Willows’ continues July 16, 18, 20 at 2 pm and July 13 and 19 at 7:30 pm at Town Hall 1873, 302 Queen Street, Port Perry. For online tickets and other information, visit their website. You may also purchase tickets at the door before each performance.