-Theatre review by Lesley Buxton

I love Shakespeare. I’m an addict. All throughout high school, I proudly wore a button featuring the famous bard’s face that proclaimed “Will power” pinned to my black leather jacket. This is why I decided my twelve-year-old daughter would accompany me to Third Wall’s production of “As You Like It.” It was not a mistake. She loved it. The most remarkable thing about Charles McFarland’s production is the energy of the actors and their commitment to their roles. From the moment the first actor walks onto to the stage the air crackles with possibility and, we the viewers sense we are in for an intriguing ride.

McFarland faces the violence of the first scenes head on. The lighting is gritty and the feeling is reminiscent of an episode of The Sopranos. I congratulate him on casting Glenn Kulka as Charles, the Wrestler. Though Kulka was obviously nervous—this is his theatrical début—his physical confidence gave the fight scenes a dimension and realism seldom realized in most theatrical productions. The fight match alone is worth the price of admission. Last night the audience including my daughter got so involved they were clapping and hissing at the actors. Tania Levy and Mishka Lavigne were fabulous in this scene as Kulka’s supporters. Though they didn’t say a word their body language was wonderful.

Naturally, no Shakespearean comedy would be complete without a case of thwarted love and a beautiful heroine masquerading as a youth. In this case, it’s Rosalind, (Kristina Watt,) who disguises herself as Ganymede, and escapes to the idyllic Arden, accompanied by the court fool, Touchstone (Michael Mancini ) and her cousin, Celia (Kat Smiley) who disguises herself as a shepherdess called Aliena. Once settled in her new surroundings Rosalind now Ganymede, proceeds to give love tutorials to her darling Orlando (Jordan Hancey).

In the early scenes, Watt and Smiley make a wonderful double act. I believed in their friendship and loved the way they related to each other. Unfortunately once Rosalind is transformed, Watt occasionally reminded me of the principal boy in an English Christmas pantomime. I found this disappointing as I felt it was well within her capabilities to create a more sensual character. In my opinion the atmosphere should be thick with desire whenever she meets Orlando. Among the supporting cast, Mancini’s Touchstone stood out. Though, I didn’t always agree with some of his choices I applaud his boldness. I also enjoyed David Da Costas musical arrangements and singing. This is once of the first times I truly enjoyed the singing in a Shakespeare production and believed in it. However, I could have done without the snippets of pop songs which were jarring and unnecessary.

Though the directing and acting in this play are occasionally flawed, this production captures the essence of this lovely story as well as all its magic. I loved its brash wit and vitality.

Third Wall’s “As You Like It” plays the studio  of the Irving Greenberg Theatre Centre through February 14

Review by Lesley Buxton

The first time I ever heard of Peer Gynt was in the film Educating Rita when Rita, the main character suggests, rather too honestly the best way to avoid the pitfalls of mounting the production was to “Do it on the radio.” I was seventeen at the time and like Rita, desperate to learn about the arts. Today as I contemplated my review I found myself thinking about that film and what it has to say about education and the arts. I believe the main function of theatre is to entertain as well as to elicit feeling for the characters and that really great theatre has a universality that appeals to audiences of all classes.

So does last night’s production work on that level? Not entirely. The main culprit is the play itself. Written in 1867 by Ibsen as a poetic fantasy and originally never intended for the stage, this epic tale follows the title character, a selfish dreamer, through a range of both rational and freakish experiences as he attempts to find himself. The language is loaded with dense philosophical musings. Challenging to say the least. In order for a production of this scope and length (3-hours) to be successful the audience must want to join Peer on his journey. I’m afraid I didn’t.

I attribute this primarily to the production’s lack of emotional integrity. In an attempt to boost the thick language the actors seemed to speak very loudly and make very broad gestures when every so often, a pause or some eye contact might have worked more successfully. Occasionally I found myself wondering if they’d rehearsed in a larger space and were unaware of how close the audience is to the actors in the studio. Or, if perhaps this was the wrong venue for this show.

The production is not without its merits. The actors all give energetic performances. Their commitment to the play is tremendous. I only wish director, James Richardson had channeled their talents more cleverly. This is a Third Wall Theatre in association with The Ottawa Theatre School. Many of the actors are just beginning their careers while others are well-known to Ottawa audiences. All the actors in this ensemble have some fine moments. Movement coach, Peter Ryan should be congratulated for his work. There were some lovely physical performances. Certainly it was these transformations that I enjoyed best.

This was my first time in the studio and I must take the opportunity to promote it. I loved it. Costume and set designer, Sarah Waghorn’s minimalist look was an intriguing choice for the space. I liked the idea of the long white gauze curtains. They were most evocative in the prophet scene, but during the opening scene between Peer and his mother I found them distracting and wondered why it was necessary to create a barrier between the actors and the audience.

During the reception, I overheard a theatergoer declare how brave it was to attempt this play. At the time, desperate for a beer and a stretch, I disagreed heartily. A day later, I’ve changed my mind. Of course, it was a brave, though possibly foolish as well. But how else do we learn how to make art? Finally, I would encourage those truly interested in the history of theatre to see this production. Though flawed there is much worthy of appreciation in this production, specifically the passion with which it was created.

Review by Lesley Buxton

Arthur Miller’s “A View From The Bridge” set in Red Hook, Brooklyn in the 1950’s, is considered an American tragedy. However this story could easily take place in Hintonburg, or  even outside North America because no matter what our heritage we’ve all met these characters. Particularly Eddie Carbone,  a reputable middle-aged longshoreman who has worked hard all his life to provide for his wife, Beatrice, his children, and his orphaned niece, Catherine.

This domestic scene appears normal until we begin to realize that Eddie’s infatuated with eighteen-year-old Catherine. Initially he does a good job of passing his feelings off as paternal affection.  After all it’s not unusual for a father figure to chide his charge  for wearing inappropriate shoes—in this case they are red and Eddie objects to the way they made her swish when she walks. Certainly there’s no harm in him telling her she’s more like the Madonna than a movie star. But it’s the intensity in which he does this that warns the audience all is not right. Also the way Beatrice, skillfully  depicted by Dumas, flits about  trying to keep everything in it’s place. Even though we know  from the expression in her eyes she comprehends that it’s hopeless.  The arrival of her cousins, Marco and Rodolpho, illegal immigrants, further ignites the atmosphere. For it’s clear from the instant Catherine and Rodolpho  meet that they will fall in love.

Arthur Miller uses the local lawyer, Alfieri to play the role of the narrator, a Greek chorus of sorts. I enjoyed Bob Reynolds’s performance. He does a great job with the often overdramatic language, but I found myself wondering what the play would have been like if the playwright had chosen to keep the play completely naturalistic.

Donnie Laflamme is not a big man, but his Eddie has the authority of one. He’s rooted in his body. A man at war with himself and who lacks the perception to grasp why. Threatened, he has the ability to suck the air from the room. Director Lisa Zanyk does an excellent job of illustrating this in her use of space. Nobody ever stays physically close to Eddie for long.  Laflamme’s performance is gripping especially when he tries to teach Rodolpho how to box.

In comparison, Mitchell Doucet’s Rodolpho has the lightness of a young man embracing the opportunity of a lifetime. He’s particularly charming in the scene where he talks about singing in the hotel. There are touching moments between  Rodolpho and Catherine, played wonderfully by Cleo Clatney, a Canterbury high school drama student and Laflamme’s daughter. This is her debut with the company and despite her youth she takes some impressive risks. Marco, Rodolpho’s married brother is memorably portrayed by Tim Finnegan.  The two actors share a chemistry that makes it easy to believe in their relationship. In fact I found the play really started to meld with their entrance.  Musician Robin Meyer-MacLeod guitar and saxophone playing notably added to the atmosphere of the play.

This is an important play most significantly for it’s examination of contrasts: youth and age, body and mind, love and sexuality. Topics as pertinent as the very day Miller first penned this story. Do not miss this gutsy interpretation. I promise you will not regret it.

Sexual Perversity in Chicago
By David Mamet

David Mamet is the original bad boy of theatre and to be frank, I’ve always had a soft spot for him. He has the audacity to be brutally honest. This is why “Sexual Perversity in Chicago” is still as compelling as when first produced in 1976. Though the language this play is no longer disturbing, the subject matter still should be. Initially this play appears to be an everyday romance. Danny and Deborah meet, fall in love while their friends, Bernie and Joan watch from the sidelines. Yet what Mamet is really exploring is misogyny. How it shapes relationships between genders as well as its role in male bonding.

Nobody, in my opinion, writes dialogue like Mamet: comedic, rhythmic, streetwise, and imbued in truthful conflict.  The language is so seductive that actors frequently forget to fully explore the potential of the characters because they seem to expect the dialogue to do the work. At times this is the case with Ottawa Chamber’s theatre latest offering; the play is the star of the production and the actors (with the exception of Garrett Quirk, who plays Bernie) are its sidekicks.

The shortcomings of this production are largely due to inexperience. This is after-all a young director and cast. Though the characters in this play are young, they are demanding.  This is why it is important to have a strong director. Regrettably, director, Will Somers fails to explore the sexual and emotional tension between the characters of this piece. Particularly in scenes such as where Bernie tries to pick up Deborah’s roommate, Joan, and Danny introduces Deborah to Bernie. These scenes should have crackled with energy.

The space in the Carleton Tavern could have been used more creatively. It might have been intriguing to set different parts of the play around the space. Also, I found the costumes rather uninspiring. I didn’t think they were definite enough. Was it 1976 or 2009? The preshow music, which began with the Sex Pistols, led me to believe it was the seventies but I was never sure, even after Robin Meyer Macleod’s performance of Layla. I enjoyed the live music throughout the play. It would have been nice if Robin’s bio had been included in the programme.

Garrett Quirk is marvelous as the sex-obsessed Bernie. Even while telling  his crassest stories he manages to charm. My only criticism of his performance would be in the scene where he reveals he was sexually assaulted as a child. These revealing lines were not as charged as they could be. Matt Smith’s Danny  had a sweet naivety which was very compelling. This was especially true of the scene in which he and Deborah (Elise Gautier) go to bed. This too is where I felt Ms. Gautier did her best work. All in all, I didn’t feel that either of female actors fully embodied their roles, though they both did have some nice moments. Lisa Aitkin’s Joan was at her best in the classroom with her young students. I wished she could have pushed herself to discover the reason behind Joan’s anger.

This uneven production has flashes of poignancy, humour and is loaded with promise and definitely worth seeing. It’s proof that well-written plays get better with time.

David Mamet’s Sexual Perversity in Chicago runs January 14-17th and 21rst to 24th at the Carleton Tavern – 223 Armstrong Street at Parkdale
(Wednesdays, Fridays at 7:30pm, Thursdays at 10:00pm, Saturdays at 5:00pm)

When I was a drama student in the late eighties John Patrick Shanley’s play, “Danny And The Deep Blue Sea,” was all the rage. I never liked it. In contrast most of my peers adored this two-hander. After all, this play, set in a bar in the Bronx, is about a man called Danny who thinks he might have killed a man who meets a woman called Roberta, a woman who bears the burden of a secret so terrible that she believes she cannot be redeemed. Perfect for those dying to do real theatre. It has all the ingredients: gritty language, violence and sex.

Anybody acquainted with Shanley’s work knows subtlety isn’t exactly his gift. This play placed in the wrong hands can leave the audience feeling manipulated and abused. Thankfully, this is not the case with Ottawa Chamber Theatre’s production. No small achievement, considering the premise of this play is that the audience must dislike, even fear Danny and Roberta before they are allowed to get close enough to empathize. This requires a director with an understanding of the frailties of human nature as well as the audience. Laflamme handles both tasks masterfully, understanding that this play is not only about the treacherous path these characters are embarking on but the willingness of the audience to follow them there.

The Elmdale House Tavern is the perfect venue for this play; we feel as if we’re eavesdropping on Danny and Roberta. I applaud LaFlamme’s decision to have an intermission. These few minutes helped the audience to recover and prepare for the final scenes. Although I usually enjoy Marie Josée Houle’s accordian playing, it was unnecessary at the beginning of the three scenes. If realism is what LaFlamme is after why not allow the natural noises of the bar to serve as background? The flavour of Houle’s music doesn’t suit a story set in the Bronx the way it did their production of Tremblay’s “Forever Yours Mary Lou.”

Annie Lefebvre’s Roberta is complex, unpredictable. At times she’s the brave lover aching for salvation, at others, she’s cruel and suicidal. I might have been watching the life story of one of the women I regularly see in The Giant Tiger if not for her Bronx accent (which needed work, occasionally she sounded stagey). Victor Cornfoot’s Danny is the wounded guy sitting at your bar waiting for someone to look at him the wrong way. Still he manages to make it easy to identify with with Danny’s romantic longing. One of the production’s best achievements is the chemistry the actors share. There’s a physical intimacy that’s believable. This is particularly true of Lefebvre. Fight director John Koensgen should be congratulated on his choreography. Rarely have I seen two actors handle this aspect of a production so convincingly.

I encourage theatre goers to see this daring production. And be prepared to have the breath knocked out of you. This is challenging theatre that demands much from its audience but also rewards it generously.
Danny and the Deep Blue Sea plays Sundays and Mondays at 7:00 pm, November 2,3 9,10 and 16,17 at the Elmdale House Tavern, 1084 Wellington Street West.

Tickets are $20. For tickets and information call 613-791-4471 or 613-791-0097. Entrance to the tavern is restricted to age 19 and up.