Category: opera Page 27 of 28

Lovely Ladies

On January 7, 2009

With the openings of Them & Us, Bear With Me, and East of Berlin, it could easily be argued that Toronto’s theatre scene is in the throes of an all-out estrogen fit. And that’s not even counting the works in this year’s edition of the Next Stage Festival; Julie Tepperman, Sarah Michelle Brown, and Kate Hewlett all have works being produced there.

Tracy Dawson is the woman behind Them & Us. Opening at Theatre Passe Muraille this week and directed by Ruth Madoc-Jones, it explores the ins and outs of relationships in 30 different vignettes. I can hear the guys (and some gals) yawning: Oh great, another woman writing about relationships. But wait… Dawson’s caustic, funny, and sarcastic. She freely admits she isn’t Dr. Phil. In fact, in a recent interview, she named John Cassavetes as the single-biggest inspiration on Them & Us. She also said her work isn’t shying away from one big aspect of relationships: sex. “Oh yeah, we’re going there,” she told me. Good. About time a woman playwright did -with gusto, passion, ferocity, joy and hilarity. Sex should involve those things, onstage and off.

Over at the Berkeley, Diane Flacks is doing a solo show about her first pregnancy (Flacks is now a proud mum of two). Bear With Me started out life as a series of columns, and then a book. It turned into a play when Nightwood Theatre AD Kelly Thornton approached Flacks about the possibility of adapting Flacks’ work for the stage (Thornton also directs). Will Flacks pull it off? Solo shows can either be great or dreary; as an audience member, you only have one person to guide you through the sometimes-labyrinthine world of the writer. As well as being curious about how the show will be presented, I’m also wondering what the play offers non-moms in the audience, beside an insight into the wonderful worlds of big-belly-sex, flatulence, and epidurals. Hmmm.

The Tarragon Theatre is remmounting East of Berlin, Hannah Moscovitch‘s hugely acclaimed 2007 show, with the same cast and director (the awesome Alisa Palmer). For me, Moscovitch’s writing is a neat mix of classical and contemporary; she freely, easily mixes recognizable elements of modern life with more classical structures and ideas, and the result makes for great, capital-D drama. East of Berlin is the story of Rudi, a young man forced to deal with his Nazi parentage. I’ll be interviewing Moscovitch Friday morning on CIUT‘s Take 5; we’ll discuss the work, and the surprising reaction it received during its first run, particularly from Toronto’s Jewish community. Tune in.

And, among the many goodies at this year’s Next Stage Festival is Kate Hewlett‘s Humans Anonymous, which details what happens when “a businesswoman who prefers lattes to love meets a sexually experimental young genius looking for Ms. Perfect.” First presented as a Fringe show and then in New York City, the work has garnered serious praise. You might know Hewlett from her work on Stargate: Atlantis, or from Don’t Wake Me, which ran at last year’s Next Stage Fest. As mentioned, this year Festival also features Julie Tepperman’s Yichud (Seclusion) and First-Hand Woman, by Sarah Michelle Brown. Reports as I see ’em.

Add the various productions from this past year that featured the incredible talents of Anita Majumdar, Anusree Roy, Brooke Johnson, Charlotte Corbeil-Coleman, Marcia Johnson, Tara Beagan, Oonagh Duncan, and Jennifer Tarver (to name only a few) and I’m left asking the same question I have for a while: when is Toronto getting a Women In Theatre Festival? There is a surfeit of amazing, inspiring talent here, and so many great stories worth sharing -and not just of the “if-my-vagina-could-talk” variety, either. These are stories for men and women alike -for children and parents and families of all kinds, that has a meaning and relevance everyone can dig. Talent is talent, and it’s time the female theatre artists of this city had a proper festival in which to fully, loudly, proudly promote and celebrate theirs. C’mon now. You know both Aphra Behn and Bill the Quill would heartily approve. What are we waiting for?

Drama Is…

By Catherine Kustanczy

On December 3, 2008

In opera

There’s certainly plenty of great drama out there lately.

If you’re in London, there’s the Tony Award-winning August: Osage County. New York has the recently extended one-man show Taking Over, while Chicago has Lynn Nottage’s Ruined. If you’re in Toronto, there’s no shortage of goodness either, with the disturbingly brilliant Festen running into next week, and Frank McGuinness’ timely (timeless?) Someone Who’ll Watch Over Me opening this Saturday.

But oh, the best drama for us Canucks right now is in our own Parliament. The drama! The speeches! The fist-shaking fury! It would all be very entertaining, if it weren’t also real. Ouch. The best part is the level of engagement it’s provoked among average Canadians; considering our last election saw some of the worst voter turnout rates in electoral history, being a part of something so starkly different in terms of mood and passion is… refreshing. The downside is the deep cracks in unity the Ottawa drama is revealing to all of us. Forget the “one” part; we’re just simply “not the same.” Or so we’re being told.

Objectively interesting as it all may be, the cause of national unity isn’t helped by our politicians giving deeply dramatic, occasionally hysterical Bernhard-meets-Kean performances. Makes the fuss over the use of a real skull in an RSC version of Hamlet seem tame by comparison. Then again, I can think of a few people who feel as if their own skulls have been bashed around, watching the frantic arm-flapping of Canadian politicians over the last week. I can only hope there’s a great playwright (or two) watching, listening, and writing. We’re going to need someone to make sense of this for us, and I can’t think of any other way to see it, other than a dramatic presentation in the theatre. If Frost/Nixon taught me anything, it’s that human behaviour is often at its most desperate and revealing when put through the fire of politics. Stay tuned for it: Harper Hears A Hoard, on tour soon.

Staging War

By Catherine Kustanczy

On November 29, 2008

In opera

I came across a fascinating piece on the art of staging warfare yesterday. Written by British freelance journalist and indie theatre director Imogen Russell Williams, the piece explores the whys and wherefores of staging war onstage, noting, quite rightly I think, that most theatre directors revert to some kind of cinematic equivalent in depicting fights. In reading her description of shadow play and slow-motion moves, I couldn’t help but think of the innumerable productions I’ve sat through where both were utilized, along with pyrotechnics. To quote Williams:

Bang! Flash! Up goes a huge pile of money in undulating smoke. We’re supposed to find it impressive that such crashes, bangs and wallops can be achieved even though we’re in a theatre, not a cinema. But it’s probably the uniting factor in bad stage warfare that director and production team are determined to pull off the cinematically spectacular even though they’re making a play, not a film.

This explains (at least partly) why I didn’t like Black Watch, part of Luminato this past summer. Or why so many productions of Shakespeare (and one of Marlowe) in Stratford have been disappointing; lost in the wonder of great acting, design, and staging, I’ve found myself jolted out of the spell by ridiculous, over-the-top fight/warfare scenes.

Note to theatre directors: try talking with some of this city’s awesome puppeteers. Work with them. They’re super-creative. Incorporating puppetry is just what The National Theatre in England has done with War Horse. Williams says this production changed her mind about the depiction of war onstage, and from what I’ve read, the piece seems genuinely moving, and thought-provoking. Puppets aren’t just for kids, and never have been.

A Good Investment

By Catherine Kustanczy

On November 28, 2008

In opera

Link Love

By Catherine Kustanczy

On November 27, 2008

In opera

A few gorgeous tidbits of theatre-rama from around the web today:

Gerald Schoenfeld, Chairman of the American Shubert Organization, has died. He was responsible for bringing many of the big shows (like Cats, Phantom, and A Chorus Line to Broadway. His obituary from the New York Times is here (you’ll have to register, but I guarantee you, it’s worth it). Schoenfeld was an interesting figure; while he had a lot of detractors, no one in the industry would deny his importance within the theatre world. Rocco Landesman, President of rival Jujamcyn Theatres, credits Schoenfeld with saving commercial theatre. He may not have been popular in not-for-profit circles -“There’s no profit like not-for-profit,” he used to say -but reading his obit, I can’t help but think that his approach is such a good model for theatre, all theatre, anywhere. From the big things to the small things, Schoenfeld never left any detail to chance, and he fought for his productions. He also gave a lot of people jobs and consistent work. And, to quote the article, “Mr. Schoenfeld argued tirelessly that the theater was an economic engine for the city and deserved greater help from City Hall.” Now there’s something we can get behind.

CBC Arts Online reports that British Columbia arts groups are buckling down in light of this week’s B.C. Ballet layoffs. They’re also thinking more about marketing -which probably makes sense for all arts groups right now, really. For example:

Ballet Victoria, a smaller ballet company than Ballet BC with just 10 dancers, is very aware of the need to attract new audiences.

Artistic director Paul Destrooper said he always programs unusual works that might attract audiences that don’t normally come to the ballet.

“We draw in the audience with a bit of a surprise. I always build my season with one big ballet that will draw a crowd that might not necessarily see classical ballet, and then when they see the level of the dancers and the choreography they’re drawn to other works,” he said.

That’s just how it’s done.

Over at the Guardian, Christine Bacon, the Director of Actors For Human Rights with UK-based theatre company iceandfire, rebuts the notion that theatre can’t respond with appropriate swiftness to current events. Not only is theatre able to do this with the required fast action, but, she argues, it should. And it doesn’t depend on funding, either:

Because we use a rolling cast of actors who donate their time and have no technical requirements, we can provide a “rapid response” event for whichever organisation asks us to turn up. We normally perform in churches, village halls, pubs and lecture rooms – anywhere we’re invited, really – eliminating the usually prohibitive cost of hiring a theatre space. This method allows us to act as messengers; rushing the urgent news to audiences who need to hear it now – not, in two year’s time, when the Arts Council funding has come through. It’s the economy and portability of the concept that really allows us to deal directly with some of the most pertinent issues of the day…

It reminded me of Kelly Nestruck’s columns from earlier this year about the lack of current events being portrayed on Canadian stages lately (if anyone can find that link, post it please). Theatre is Territory has opened up the discussion about politics and theatre because of the article. Hopefully it generates a good discussion. Theatre can be, and is, many things to many people, and I believe there’s room for all of us -to learn, to grow, and to expand.

Off to see Soulpepper’s A Christmas Carol tonight; I’ve not seen their production, or indeed, any production of Dickens’ classic tale, onstage, ever. Friday’s booked for Canstage’s It’s A Wonderful Life, the staging of which I find greatly intriguing; it’s set as a radio play, which hits a personal/professional interest-button. But thematically, both are more than just jovial feel-good tales. As Richard Ouzounian wrote, no two works could be more relevant in this economically harsh festive season.

Lovely Peggy

By Catherine Kustanczy

On November 26, 2008

In opera

Amidst a day filled with news of job loss, bombings, and gloomy predictions, I found myself meditating over the final scene in Radio Play. Dancer Peggy Baker and actor Michael Healey sit together, on a raised table, their faces nearly touching, their hands joined. It’s the end of a beautiful, poetic journey, and a powerful symbol of connection.

Though I’m not well-versed in modern dance, I found myself entirely entranced with the movement-meets-theatre piece. It asks nothing more than turning off that part of your brain that constantly seeks to understand, to make sense of, to explain. As Marcel Duchamp said, “This desire to understand everything fills me with horror.” Like art, there’s something resoundingly primal about dance -particularly modern dance. One either reacts by shutting down at its confounding nature, or opens up entirely to its instinctual roots. I found myself willingly knocking down my walls of intense rationalism watching Radio Play, frequently relating to the trials and frustrations faced by Marnie (played by Peggy Baker); the changing nature of her relationship with Angus (played by Healey) was equally compelling, and was expressed with brushes of subtlety and grace.

I also found myself connecting some of the issues Radio Play raises -namely the idea around how artists make a living -with yesterday’s layoff of the members of the B.C. Ballet. There is still a predominant attitude, at least in certain circles, that working as an artist doesn’t constitute “real art.” I’d argue that a dancer is every bit as vital to the economy as a Magna employee. And after seeing a piece like Radio Play, I’m more convinced than ever of the importance and vitality of culture in harsh times. It’s only by turning that needling, analytical voice off, and allowing a few subconscious realizations, that one finds any sense of clarity. If you’re in or around Toronto, run -there are only three more performances.

More Than Ever

By Catherine Kustanczy

On November 25, 2008

In opera

The Rape of Europa is a stunning documentary. It traces the systematic looting and destruction of personal property by the Nazis during World War Two. It also explores the extensive efforts of those across Europe to protect some of the world’s greatest masterpieces. I couldn’t help but feel, in watching it, a strange connection with those who helped to pack the entire contents of the Louvre, the Hermitage, the Uffizi; I’d have done the exact same thing -if I’d been lucky enough to escape the trains going to Bergen-Belsen, that is. The film shows just how much the Nazis understood the importance of art; they were thieves, yes, but they were smart thieves. They comprehended the ways in which culture could shape and manipulative society as a whole.

So with a mix of hope and resignation I read this morning’s latest news about the Canadian Portrait Gallery; apparently those involved with getting the gallery an actual, real building are going back to Plan A -to use the existing former U.S. embassy in Ottawa. It makes financial sense, and, it’s just sitting there: why not use it? Still, I feel like hauling Mr. Harper away from High School Musical and forcing him to watch The Rape of Europa. I’m not implying one’s better than the other -they are clearly different beasts -but I think it might be worth a couple hours of our PM’s time. The scenes of jubilant Florentines crying and madly applauding as the trucks containing their city’s art return is very moving. I wonder if he’d understand the larger truth of that scene.

Equally, I wonder what Canadian mayors would make of London mayor Boris Johnson’s recent proposal outlining strategies for the arts. Could we see any of them doing such a thing? Hmm. Of course there are very pressing concerns right now, but I think a bit of balance is in order right now, considering the hysterical nature of the times. Guardian writer Charlotte Higgins’ recent post on the cultural initiatives of “Bojo” is very interesting, and this line struck me, hard (italics mine):

I also agree with the authors of the report when they write the following: “It is often presumed that young people will only like art that they can immediately relate to. Working-class students may be steered towards popular culture like hip-hop, new media and film, on the basis that they will find older art forms like opera or ballet irrelevant. This approach patronises young people and limits their horizons. With proper support and encouragement, arts organisations can play a big role in opening young people’s minds, and deepening their appreciation of culture from any time or place.” It’s about time someone put that thought in black and white.

In light of that, I decided to send the link, with highlighted quote, along to a number of leaders of arts organizations. Happily, I’ve received numerous positive responses, too, among them a hearty “hear, hear!” from the Stratford Shakespeare Festival, a heartfelt ‘thank-you’ from the Theatre Centre, and this, from Marilyn Field, the head of DAREarts:

I’m not a blogger on internet writer / reader BUT I must address this (or you for me) since our 13 year experience working with ‘at risk’ kids aged 9 to 14 from Canada’s cities, small towns and rural areas has been that our young people are IMMEDIATELY INSPIRED by opera, ballet, Shakespeare, etc. The criteria is NOT working through their popular culture BUT RATHER presenting them with EXCELLENCE. Seeing my inner city, at risk, 14 year old students lining up after an Esprit Orchestra concert to get autographs of composer R. Murray Schaefer was my first revelation that if we give our kids excellence, they will identify with it and want it more in their lives.

Art matters to people -even, or especially, in these harsh economic times. No matter what form the hardship has taken, humanity has endured, and an expression of that triumph is the place that art and culture are given in our society.

Now open the damn Portrait Gallery already. Sheesh.

Thank You, Clive

By Catherine Kustanczy

On November 19, 2008

In opera

Clive Barnes, the venerable theatre and dance critic for the New York Post, has passed away.

I had the opportunity to meet Barnes in 1995 when I traveled to New York City for a much-praised production of Hamlet that featured Ralph Fiennes as the melancholy Prince. We met at Cafe Un Deux Trois, just beside the Belasco Theatre, and he regaled my friend and I with his great tales one splendid evening. He was, to quote fellow theatre critic John Simon, “charming, witty and learned.” Just so.

Barnes was a big personal inspiration, and he will be very missed.

Confusion Reigns

By Catherine Kustanczy

On November 18, 2008

In opera

I don’t know what to make of this.

My first feeling is that $100,000 could be so much better-spent inviting Canadian groups to present their works overseas. It would certainly go farther. Artists, last I checked, could barely afford their rent, let alone fancy hotels or European jaunts.

However, my second instinct says Canada’s Governor-General is a really good ambassador to sell Canada’s cultural industry abroad. It’s part of her function, and it’s good to have a smart, accomlished, classy figure like Michaelle Jean as the public face of this country internationally.

In stark contrast to those who feel that $100,000 is too much money to be wasting in these economic times, I point you to a certain politician’s platform on the arts, and his stance on the importance of promoting them amidst harsh economic times.

Not only is arts education indispensable for success in a rapidly changing, high skill, information economy, but studies show that arts education raises test scores in other subject areas as well.

As Russell Smith pointed out last week, it’s precisely in such times that people turn to the arts. The 50,000+ who lined up in the cold to get a peek at the new Art Gallery of Ontario this past weekend are proof positive that art matters to people -all people, not just some of them.

Oh, and it makes a whack of dough too. I’m just not sure Mme. Jean’s overseas visit is the best way to use our resources right now. Considering the Conservatives are all about fiscal prudence, it seems like a bit of a waste not to consult the arts community about what they want first. Surely they could be of help in advising on matters like cultural diplomacy? Hmmm. Considering the resourcefulness of this country’s artists, it seems like a pity they weren’t consulted.

If You Want Something Done…

By Catherine Kustanczy

On November 12, 2008

In opera

Over at the wonderful theatre blog cleverly titled Tynan’s Anger, the idea of the intersection between art and commerce is examined, specifically through the lens of theatrical production. Ethan, the blog’s author, writes:

If you’re in theater, even using the term “commodity” in referring to theater will make you cringe. Yet, the fact that this cringe is nearly universal is a unique thing to theater, in terms of business and even in terms of the arts.

Maybe this is the problem the arts in Canada have: people who stomp about decrying the wasteful spending of their tax dollars see artists turning away from commercial models, from things like Dirty Dancing, Jersey Boys, and The Sound of Music. Sure, on one level, it’s apples and oranges comparing those sorts of shows to, say, something from Passe Muraille or the Tarragon or even Soulpepper, but still, those inside the arts community -not all, mind, but some -turn up their noses, and, to quote Jeremy Kushnier (who’s in Jersey Boys), regard musicals as the dirty cousin of the stage. Hello, unity?

Without getting into an argument about what constitutes either culture or commodity, I have to say, I’m a bit surprised at the amount of shock coming from artists over the cancellation of the National Portrait Gallery. Is it really that surprising? Culture is not on Prime Minister Stephen Harper’s priority list. Right or wrong, like it or lump it, it isn’t there. Period. That isn’t going to change.

Ergo, the onus is on us to promote our work in unorthodox, inventive ways. This is an opportunity. It means more than ever, arts companies -including theatre companies, of course -need to be more aggressive than ever to get the word out there -about who they are, what they do, how they do it, and why they do it. To quote an arts journalist friend who has covered this issue extensively, most voters who object to public funding of arts projects have a/ little to no idea of funding structures, and b/ are unaware that funding is less than half of the total operating budget of any project or company.

What does this mean? See above.

To quote Ethan again, “most theater people are introverts” -but it’s time we came out of our collective safety shell of our familiar community and started courting those people coming out of the Royal Alex. Call me naive, but I think it’s worth a shot, particularly since culture isn’t about to be promoted by our own government anytime soon. Just as I refuse to bitch and whine about the arts’ collective victimization in this country, I refuse to believe all hope is lost. It isn’t. Let’s go.