Scarborough Music Theatre's 'Into the Woods' - review by Joe Szek

By Joe Szekeres

Varied shades and hues of these woods in Scarborough Music Theatre’s 58th season opener left me feeling extreme puzzlement and confusion with a tint of respect and dash of admiration.

Stephen Sondheim’s ‘Into the Woods’, a staple of the amateur and community theatre scene, is by no means an easy musical to stage for amateur/community groups and for the professional theatre circuit. Some of the famous Brothers Grimm and Charles Perrault fairy tales are brought to life with elaborate costumes and intricate setting as we hearken back to a once upon a time of long ago. Sondheim’s music is a definite challenge to sing for its irregular rhythms. I can recall my participation in a production of ‘Sweeney Todd’ several years ago where I had to count in my head certain beats in timing before the singing started.

And yet, the community/professional musical theatre actor loves meeting this challenge in music. Personally, when these demands are met, Sondheim’s music is glorious to hear as the material has been meticulously rehearsed and the actor/performer is ready to share with an audience.

There were specific moments at this opening night of SMT’s production of ‘Into the Woods’ that hit all the right notes for me. There was even a moment where I could feel a tear in my eye, so the actors/singers had me at that point.

Unfortunately, I didn’t feel that much needed personal connection continually through this three-hour production. There was tremendous potential here because I could see so much effort from so many people listed in the programme especially in the area of set design and costumes; however, I’m puzzled by Director/Music Director Marion Abbot’s choice to set this production in the 1920s because it seemed out of place for me.

The posters and programme cover showcase some woods that are ‘lovely, dark and deep’ as Robert Frost once wrote. When I sat down and studied Bill Corcoran’s set design, I didn’t see any connection to any woods at all. Instead, it appears as if I’ve entered a 1920s speakeasy nightclub. I could hear twittering birds and sounds in the pre-show soundscape, but where are the woods?

Alex Amini and Carmen Amini’s costumes are gorgeous to behold as they have captured the essence of the 1920s – right from the flapper to the gangster. But it appears to me these costumes seem out of place in this story. These costumes have come right out either from a film noir police drama or one of Jay Gatsby’s palatial parties. This puzzled me tremendously. Two examples (but space doesn’t allow me to mention all) - The Baker’s Wife flapper’s costume does not reflect the world weariness she and her husband experience in not having a child. Instead, the cigarette smoking woman who shoos him away at her whim bugged me and reduced any sympathy for her. Tom Roedding’s G Man, Edward G. Robinson Wolf Costume during ‘Hello, Little Girl’, made me think Roedding would pull out a rifle to start shooting rather than show this is a song of seduction and temptation.

There are some good performances, nevertheless. Peter Pequegnat’s Narrator is clear. I liked how he moved around the auditorium at various points to maintain and sustain my interest. Christopher Martel-Fauteux and Michael Yaneff are solidly wonderful and comical as the conceited and pompous princes to Rapunzel and Cinderella. Michael Manning’s Steward also provided much laughter as he gallivants after his princes to ensure their safety from things going on in the woods.

A clever use of vaudevillian performers Esther Cabral, Jenise Fitzpatrick and Amy Sarjeant kept the plot moving through the repositioning of set pieces on the stage and providing some laughter in the first and second acts with their ‘sound effects’ cards. Isla Parekh and Daniel Charpentier as Little Red Riding Hood and Jack were delightful. Their costumes did match the characters they played. At times, during the second act, their diction and elocution in their dialogue and singing faded so they’ll have to be mindful in future performances. Chantel Kuli as Jack’s Mother is that robotic voice of reason for a young child who does not want to listen.

As the childless Baker and his wife, Martin Buote and Patricia Mongeon appeared uncomfortably disconnected to me at the top of the show. I didn’t see any world weariness between the two. As the story continued, yes, there was a definite character arc for both. The tear that was brought to my eye occurred in the second act when Ms. Mongeon tells Mr. Buote to calm their child as we hear ‘No One is Alone’. Mr. Buote nicely becomes that solid father figure who has grown and changed since life does not always turn out ‘happy ever after’ as the characters discover in the second act.

I had some initial trouble in accepting Hayley Finewax as the Witch since her apothecary like costume did not make me pay attention to her. Once she becomes who she is supposed to become, Ms. Finewax sings well especially in ‘Stay With Me’ to Rapunzel. As the long golden-haired daughter Rapunzel, Rachel Savlov’s yearning and singing from high in the tower amusedly became a tad wearisome for her intended in the second act.

Gabriella Farias as Cinderella has a nice singing voice especially in ‘No One is Alone’ which brought said tear to my eye. Her comical pratfalls, because she is uncomfortable in her shoes running in the woods (or speakeasy), never went over the top. Marianne Lannigan, Laura Currie and Callista Foti are appealing caricatures of Cinderella’s stepmother and stepsisters. I loved the sunglasses after the stepsisters lose their eyesight. As the voice of the Giant who terrorizes in the second act, Melissa Comstock never went over the top in this characterization.

Ms. Abbott certainly had her hands full both in directing the production, playing in the orchestra and being the music director. Once again, Sondheim’s stuff is a challenge to sing for its timing. The performers did well on this opening night. There were moments and glitches in the second act where I felt some of the actors’ voices were starting to show fatigue as there was strain and the odd off pitch singing. As performances continue, I’m positive this will tighten us.

FINAL COMMENTS: I’m always in complete admiration how amateur/community theatre groups want to tackle these grandiose musicals. My concern – are there strong singers whose voices can sustain a three-week intensive run just after a tech week where the entire company has rehearsed each night?

Despite some of the issues I might have had, the opening night audience appeared to enjoy the production. For community groups, hopefully, this is the focus for all of their work.

‘Into the Woods’ runs to November 16 at the Scarborough Village Theatre. For further information, visit the website.

Build it and they will come - Borelians' 'Renovations' reviewed by Joe Szek

By Joe Szekeres

The angst of home renovations is something that I have never had to face, but I know family members, friends and work colleagues who have had their homes torn up or under construction for several weeks and months. From what these people have told me, pressure build, and tempers can flare because everyone is on edge. Bottom line – everyone wants a solid job done, but sometimes the getting there is the most difficult part, and you wonder if you will ever make it to the end.

I had the opportunity to see Sunderland resident Graeme Powell’s play ‘Renovations’ premiere in Uxbridge several years ago. ‘Renovations’ tells the story of young couple Brent and Jenny (Jay Da Costa and Sam Smilovic) who are in the throes of having their home renovated before they move in. Jenny’s well-intentioned father, Ernie (David Geene) is around to lend a hand as much as he can. While Brent and Jenny try to remain calm during the upheaval, they meet their neighbours who become another burden which adds to the increasing and mounting tension. There is the neighbourhood white trash trampy Judy (Lee Laycoe) and her drug head boy toy/lover Gil, (Mike Doucette) who rented the house before Brent and Jenny. Gil helps in renovating the house.

We also meet a young teenage couple Amber and Brandon (Onella de Zilva and Antony Augusto) who can’t seem to keep their hands off each other and sneak into the house periodically to find some alone time. We also meet a lovely eccentric senior, Harriet (Alexandra Hines) who has some information to share about the people who originally built the house. We also met Harriet’s son, Daniel (Howard Linscott).

Lee Laycoe and Mike Doucette. Photo by Jonathan van Bilsen

What is unique about this production is the fact the set is not clean and tidy at the top of the show. It’s chaotic and messy as there are about four different projects on the go all at once in this living room, plus upstairs/offstage noises in other parts of the house. I remember the gigantic set on the Uxbridge stage several years ago quite well as every inch of the space was fully used. At that time, Bryan Mailey designed the impressive set. First time director of this production, Amy Caughlin, asked him to design once again obviously with different specifications as the Port Perry Town Hall Theatre is different from Uxbridge.

Kudos, Mr. Mailey. Your work is top notch as there are three or four different projects on the go in this setting. From the initial look, we don’t know how long these renovations have taken place. Brent and Jenny have been promised they should be in their renovated residence by Christmas. Hah, hah, as there are no timelines or deadlines in these renovations.

In her Director’s note, Ms. Caughlin says the place ‘stole her heart’ because the characters in this play ‘painfully’ familiar to her. For Caughlin, these characters are learning to navigate a consistently changing environment surrounded by the chaos in Brent and Jenny’s home. Ms. Caughlin felt it was appropriate to bring Mr. Powell’s play home to the Town Hall, as he has done a lot of work with the Borelians.

Personally, I believe it’s important to see new plays performed on the amateur/community stages. Why? There are talented people in the region who deserve to have their work showcased for the community. Community theatre is for the community and it’s important to support its own.

For her directorial debut, Ms. Caughlin believes she has chosen a show close to her heart. She cares about this production and its inspirational message that all of us in our lives will constantly undergo renovations.

Is this cast up for the challenge? For the most part, yes, they are. There are times when the pacing dragged a bit at this first matinee in both acts. It did take just a tad too long to get my interest in the plot going, but it gradually did. The account for this lag might be the fact the cast could have been tired. This was the first of a two-show performance combined with the reality cast and crew have been at the theatre every night this week in preparation for opening.

Jay Da Costa and Sam Smilovic are believable as the ‘slice of life’, young, Canadian couple who are just starting their lives. It’s sweet to watch the kissy face, googly eyed young lovers who really want a baby and will drop whatever they’re doing in order to grow try right at that particular moment. Both Da Costa and Smilovic do fine the peaks and valleys as the tension builds with the fact the renovations are not going as quickly as they would like. It was refreshing to be able to hear Mr. Da Costa clearly in his dialogue. Ms. Smilovic will have to be mindful of her enunciation and projection as there were a few moments in both acts where she delivers lines upstage and I couldn’t hear her from my seat.

Lee Laycoe’s ‘hot to trot’ Judy was amusing to watch for some of her outrageous, mismatched costumes that she thought would have made her look gorgeous. Again, for the most part, there are moments of brashness, but I would have liked to have seen Ms. Laycoe carry them through more. Perhaps snapping some gum might also add to her character development. Her scene with Gil in Act Two was nicely delivered. David Geene offers worldly and fatherly advice to his daughter and son in law. Ernie is a likeable guy and Mr. Geene nicely plays him that way.

As young teenage couple Amber and Brandon, Onella de Zilva and Antony Augusto are having a great deal of fun in the hope they do not get caught. Ms. De Zilva uses her doe eyes to her advantage in getting August to do whatever she wants done. Mr. Augusto appeared just a tad too stiff in his delivery of some lines. He has the look, he has the demeanour. He needs to think through further what is the message he wishes to convey.

As senior Harriet and her son, Daniel, Alexandra Hines and Howard Linscott help Brent and Jenny through some tough times in understanding the historical significance of the hose. Ms. Hines has solidly captured a dotty senior who truly likes the young couple as they start their lives together. I would have liked to have seen a bit more of a playful mother and son attitude between Ms. Hines and Mr. Linscott. Mr. Linscott showed that playful side in Act two when he and his mother leaves. It is the way in which he says, “Coming, Mother” which nailed the fact Daniel cares for his elderly mother while teasing her. I wished I could have seen more of that playful teasing.

Mike Doucette came dangerously close to stealing the show as Gil, the drug head renovator and boy toy of Judy. Mr. Doucette just captured beautifully that air of “This is who I am, and I ain’t changin’ who I am for nobody.” In each of this scenes, Mr. Doucette naturally listens to each actor and responds in a believable manner. The hiding of Gil’s pot in the second act and its discovery is quite funny.

‘Renovations’ continues to October 19 at Town Hall 1873 Centre for the Performing Arts, 302 Queen Street, Port Perry. Visit the website for further information.

Dave Rabjohn reviews Second City's 'If I Could #Throwback Time'

By Dave Rabjohn
Guest Reviewer

The usual high energy hi jinks at Second City continues with its 83rd Revue in Toronto. The cleverly titled "If I Could #Throwback Time“ (I’m sure Cher has many hashtags!) is written and performed by the Second City Mainstage collaborators: Tricia Black, Alan Shane Lewis, Clare McConnell, Natalie Metcalf, Sharjil Rasool, Chris Wilson.

The retro theme was clearly established with Power Rangers poseurs, ET on his bike, and even an angry Snoop Dog. These references often became a trampoline to our present such as the never ending Toronto hockey angst, unforgiving climate change coverage and Chic Filet conversion theories. As usual, other bits that connect with nothing are tossed in – laughter ensues and the comic effect is rich.

Second City prides itself (and it should) on developing sketches from the seeds of improvisational theatre. An idea from a late night audience or momentary inspiration from an actor gets reviewed, fleshed out and polished into a new sketch. The term “polished” is used loosely. Performers do deliver cut throat timing and choreographed physical fun, but they often live on the edge with precarious abandon, enticing new energy from fellow actors and themselves. Some highlights – spoiler alert be damned – each show has its own nuance each night anyway:

Tricia Black creates a comic gem with a restaurant pervert who massacres political correctness. As #metoo accusations fly, eventually it is impossible to establish who is the good guy, the bad guy, or the actual pervert. The fight choreography was brilliantly interwoven with Mark Andrada’s lighting design. Ms. Black’s “bad lesbian” was poignant and made the audience understand that we are going to be comfortable with anything tonight.

Alan Shane Lewis creates the aforementioned Snoop Dog character with hilarious confidence. As well, along with Clare McConnell, physical comedy takes full flight as they create two fan- induced flippy balloon characters (somebody tell me what they’re called!) that you see on used car lots or the opening of the latest best burgers in town. They both droop and fly and spin into sensual silliness as if they were two out of control condoms.

Natalie Metcalf controls a brilliant scene as the cynical woman hoping for a better life. With a twist on crystal balls or tea leaves, Ms. Metcalf interviews herself from the future and even meets a future Mr. Right from the audience. Sharjil Rasool also creates some memorable moments – using his lips to find a missing straw drew screams. Chris Wilson creates a hilarious adventure with a pickpocket assault that goes amusingly wrong. The victim is stripped to the bone with clever (and raucous) choreography.

As entertaining and amusing as the performance is, it can also make us pensive about issues such as this current federal election and global warming. But the overall objective of fun is never lost; our silly past is only a few spit takes away from our present. By the way – order the chips and salsa – it pairs well with the Toro Bravo Merlot. (Clearly this writer is not a food critic.)

For more information see the website.

Theatre Scarborough production '39 Steps' is a gas - review by Joe Szek

By Joe Szekeres

Many years ago, I recall vividly being scared while watching Buffalo’s WKBW Friday night late show’s presentation of two film classics - ‘The Birds’ and ‘Psycho’- by the master of suspense, Alfred Hitchcock.  I only remember certain scenes from both films that scared me. To watch them again forty some years later and wiser, I can now appreciate the unique film techniques Hitchcock used to create suspense in these two classics.

Much like film, live theatre can also create suspense through a variety of specific techniques. Thanks to Patrick Barlow, local Toronto audiences now have a chance to see a suspenseful play with a twist of wit and a dash of funny.

The Scarborough Theatre Guild opened its 61st season with Barlow’s “wonderful parody of the classic 1935 film ‘The 39 Steps’ by Alfred Hitchcock” according to Director Kevin Shaver. I had seen another production of this play in Durham Region several years ago and was impressed with the fact that four actors playfully whisked me back to a bygone era of a story line theme that Hitchcock followed in a good number of his films – the innocent man who finds himself unintentionally entangled in a predicament not of his choosing.  In ‘The 39 Steps’, suspense builds with the inclusion of a femme fatale, bad guys, car chases, romance and murder all conducted humorously at times in lighting speed.  Additionally, two of the actors played over a total of twenty-six characters combined usually in very quick costume changes.

It was a very strong production several years ago thanks to a cast and crew with an innovative vision which made the play soar.

The Guild’s current production, now onstage until October 19, is solid thanks to the creativity of director Kevin Shaver, producer Darlene Thomas, and a cast and crew who readily took me back once again to that same time era of the late 1930s and early 40s. It’s an extremely simplistic set concept courtesy of Shaver. The script calls for an elaborate staging, but Shaver made a wise choice not to focus on that element as it is the breakneck action and melodramatic characterization upon which we are to focus. The characters enter from all sides of the auditorium.

There are three flats at the back of the playing space which appear to have painted on them different scenes of the English countryside. There are coat racks far stages right and left (which I assume will hold some of the costume changes as the show progresses).  A comfortable looking 1940s easy chair, which shows signs of being used, sits centre stage with a blanket on it. A side table sits to its right with a rotary dial telephone. From my seat I couldn’t tell if it was from the time period or not. A standing lamp reminiscent from the 1940s is placed behind the easy chair.

I especially liked the preshow and set change music thanks to sound designer Andy Roberts and Kevin Shaver. The big band sound has always intrigued me for its musicality. Period pieces are always a challenge in trying to capture the look of the era. Andra Bradish and Darlene Thomas’s work in costumes and hair/makeup respectfully captures that look. For example, the tight-fitting dress of Annabelle at the top of the show appropriately evoked Hitchcock’s vision of the mysterious woman.

Lighting and sound must be timed impeccably to capture the humour. We are whisked back and forth between multiple scenes so there are numerous quick set changes where we hear some of the music from Hitchcock’s other films. According to Shaver, assistant stage managers Macalib Chin-James and Kiera Smith (set changers) are cleverly dressed in shirts and ties in the same way Hitchcock liked to have his film assistants dressed. As performances continue, I’m sure the pacing of these changes will pick up even more.

As Richard Hannay, the man who finds himself in a predicament not of his choosing, Rob Magee has a Clark Gable look about him thanks to the mustache he sports courtesy of Ms. Thomas’s make up design. Mr. Magee becomes the likeable hero of the story caught in a vortex of downward spiralling events that could lead to his demise. Mr. Magee shows he is also up for some extremely funny bits. One occurs early in the production where he must shimmy himself carefully out from under a dead body. 

Lindsay Bryan plays three different roles in this production. Her femme fatale characterization of Annabelle is mysteriously seductive which begins Hannay’s descent into the unknown. Like Mr. Magee, Ms. Bryan also has a good hold on some of the comedic moments especially as the wife of one of the Scottish proprietors. At times, I could not hear some of Ms. Bryan’s dialogue clearly, so she’ll have to be cognizant of this in future performances.

As the two clowns who play over twenty-five combined characters, Tommy Boston and Paul Bryant come dangerously close to stealing the show for their comedic antics and fast paced movement behind the scenes from one characterization to the next. Their bad guys performance is sinisterly dastardly while their characterization of the Scotsmen is a hoot.

There are some wonderfully staged moments. Pay close attention to the airplane scene as it’s a riot. I wondered how the train would be captured on stage and it works well here but be prepared to use your imagination. If people are film buffs, they will know Hitchcock used to make brief appearances in his films.  Keep your eyes pealed and ears open as Mr. Shaver pays homage to Hitchcock and follows suit in a unique appearance.

‘The 39 Step’ runs October 10, 11, 12, 17 and 18 at 8 pm and October 6, 13 and 19 at 2 pm at the Scarborough Village Theatre, 3600 Kingston Road, Scarborough. For further information see the website.

Canadian Stage performance 'Un Poyo Rojo' stands up - review by Joe Szek

Review by Joe Szekeres

I’ve seen several movement and dance pieces this last while and have begun a further appreciation of the art form itself.  The stamina to maintain such energy for over an hour is truly amazing.

I asked two individuals who spoke Spanish what the title of Canadian Stage’s most recent production ‘Un Poyo Rojo’ meant.  Its literal translation is ‘The Red Hen’. In other dialects, depending on its context and usage, ‘un poyo rojo’ can also mean a vulgar translation of the male appendage. Ok, with this understanding of the two possible meanings of the title, I set out to see why The Montreal Theatre Hub called the production ‘Physical Comedy Gold.”

In the lobby of the recently renamed Marilyn and Charles Baillie Theatre (formerly Berkeley Street Theatre), there is a gym locker with all kinds of stickers and paraphernalia attached to it. The impression for me was I would be entering a gym locker.

Photo courtesy of Canadian Stage

And yes, in the auditorium, there was another gym locker upstage centre with a bench in front. Latino music loudly blared from a boom box down stage right. Messrs. Poggi and Rossi are clad in sweatpants and tank tops and warming up with stretches, kicks and kickboxing. Periodically they take sips of water.

The program states the production is ‘a crossover between dance, sport and sexuality, the play utilizes body language to explore the limits of contemporary language and movement and its subsequent interpretations.”  Agreed on this account. The energy required of the two performers (Nicolas Poggi and Luciano Rossi) in Canadian Stage’s opening night performance of UN POYO ROJO made the production unusually strange yet riveting to watch. 

For the first twenty minutes, there is no music and sound except for these two men who, at times, are in complete synchronicity with each other whether through their breathing or some of their unison movements. At times, there are some playful Broadway dance style moments which brought the odd bits of laughter. There are sportive moments where the gentlemen jump, kick, and perform gymnastic routines all with the greatest of ease. Their programme biographies indicate both men have had extensive training in movement and dance.

Poggi and Rossi maintain the frenetic and energetic pace for over an hour. They appear to be very comfortable with their sexuality, with each other, and their own bodies. At times, they stand closely in each one’s personal space for a few minutes face to face. Other times, they lift each other up from various sections of the other’s body part. They also wrestle with each other while clad only in their underwear for a few minutes.

Part Laurel and Hardy and part Cirque du Soleil, the two men comically and amusedly, as the programme once again states, “invite us to laugh at ourselves and offers an opportunity to accept ourselves entirely.” To make an audience laugh, these two men felt comfortable in their intimacy with each other to make us smile.

‘Un Poyo Rojo’ runs to October 11, 2019 at the Marilyn and Charles Baillie Theatre (formerly Berkeley Street Theatre), 26 Berkeley Street, Toronto. For further information check the website.