Tag: war

Sex Advice? Ask Grandma

I smiled when I saw this:

The description had worried me somewhat; would it be patronizing? Idiotic? Mean-spirited? Would it make this poor grandmother look ridiculous and outdated in a “pooh pooh, look at my granny” way? Turns out, none of the above is applicable. This is a loving, respectful tribute, and indeed, very playful… dare I say frisky.

I grew up not knowing either set of my grandparents, so I tend to live vicariously through other peoples’ -in person, or, in this case, online. Believe it or not, this would be just the type of thing I’d want to discuss with my baba. Absolutely love it. Well done.

Totally unrelated: I just came home from watching Billy Bishop Goes To War, with Eric Peterson and John Gray. J’adore. More tomorrow. Segue: I’m sure their grandmothers -Bishop’s included -would have more than a few interesting, playful insights to share. Who knows, perhaps they did… really, there must be a play in this somewhere.

Staging War

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.

Scorched, Tomorrow Morning.

An interview, that is.

Wajdi Mouawad’s play Scorched is considered to be one of the finest pieces of Canadian drama. Everyone, from audiences to critics alike, agree it’s an important, vital, and deeply moving work.

The Dora Award-winning Scorched examines issues of war, family, and identity, and is on now at Toronto’s famed Tarragon Theatre, where it runs until September 28th before heading out on a nation-wide tour.

Tomorrow morning on Take 5, I speak with actor Sergio DiZio (best known from the television series Flashpoint about his role in the play, as the troubled, amateur-boxing son Simon Marwan.

Sergio and I will be discussing Mouawad’s work, as well as the playwright’s soon-to-be-famous letter on the recently-announced arts cuts.

Support Canadian culture and tune in, just after 9am!

89.5FM Toronto
ciut.fm Worldwide

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