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Posts tagged ‘factory theatre’

#FiercelyFringe 2017 – Part 1

It’s the most WONDERFUL TIME of the year! Happy Opening to the 2017 Toronto Fringe Festival! Every year, we are constantly inspired by the core values of The Toronto Fringe Festival:

  • It’s about creating art at a grassroots level.
  • It’s “theatre by the people, for the people“.
  • It’s about taking risks and exploring something new.

So, we asked this year’s Boss Fringe Artist Babes: How are you FIERCELY representing these values? How are you #FiercelyFringe?

After an overwhelming response, we’re thrilled to share our first #FiercelyFringe preview with you, listed in no particular order, and in two parts (because we can only get our scroll on for so long…)

We hope this gives you a more personal look at these shows and the artists behind them as you plan your viewing schedule over the next two weeks.

Be sure to follow along with us on twitter, facebook and instagram for our full #FringeTO coverage celebrating all of the people and moving pieces that make this festival so electric!

See you at the Fringe Club #FiercelyFringe friends!

– ITGR


Pineapple Club 

WHO ARE YOU?

The Pineapple Club team is comprised of Director/Choreographer Robin Henderson (of last year’s Best of Fringe hit, Dance Animal) and performers Paul Barnes, Jonathan Shaboo and Pascale Yensen.

WHY SHOULD PEOPLE CATCH YOUR SHOW?

The Pineapple Club tagline is “Come for the comedy. Stay for the calamity”. With everything that’s happening in the world, it’s especially important to be laughing right now.

HOW ARE YOU FIERCELY FRINGE?

Where else would you find a mash-up of comedic dance, sketch comedy and social commentary? Pineapple Club speaks to the emotional fallout of the world’s events in 2016 through the unique lens of comedic dance, sketch comedy, puppetry and music.

CONNECT

t: @PineappleClubTO
#PineappleClubTO


Bad Baby Presents: Rules Control the Fun

WHO ARE YOU?

From a group of seasoned Fringers boasting a total of 13 Fringe tent romances collectively, Janelle Hanna’s new solo show Bad Baby Presents: Rules Control the Fun is not simply a clown show, but it does feature her clown Bad Baby, prominently. Think of it instead as a new play about love, loneliness and humans’ need for connection, as well as it being Bad Baby’s first Fringe appearance, all rolled into one.

WHY SHOULD PEOPLE CATCH YOUR SHOW?

Bad Baby has seen a lot of Fringe shows, and she is a self-proclaimed fringe expert. So she knows exactly what to do and what not to do. She knows all of the rules.

WHAT MAKES YOU FIERCELY FRINGE?

What makes us FIERCE is how the play itself goes deeper, exploring themes that writer and performer Hanna feels strongly about: love, relationships, vulnerability and shame. Expect a lot of laughter and comedy at this show, but don’t expect to see only that.

CONNECT

t: @lark_and_whimsy
@janellemhanna
#BabysFirstFringe
i: @janellemhanna


Interstellar Elder

WHO ARE YOU?

SNAFU is the creators of SOLD-OUT shows ‘LITTLE ORANGE MAN (***** – VueWeekly) and ‘KITT & JANE,’ (****½ – Edmonton Journal)

We’ve been touring across Canada for the last ten years, both to all the fringes and to curated festivals like Wildside, Undercurrents, Next Stage and SummerWorks. All of our shows are weird.

WHY SHOULD PEOPLE CATCH YOUR SHOW?

In Interstellar Elder, we meet Kitt, fierce lone geriatric astronaut adrift in a spaceship carrying cryogenically frozen human cargo. Her mission: protect the last of humankind.

“Amazingly versatile physical comedian with the BEST ENDING IN THE HISTORY OF FRINGE.” – Montreal Gazette.

HOW ARE YOU FIERCELY FRINGE?

This summer, we’re touring 9 FRINGE FESTIVALS across Canada. #FringeHogs. This is my second time winning the CAFF lottery in the past three years, whereas some artists have applied for CAFF every year for the past two decades and never been drawn. If I win CAFF a third time, I expect death threats from other fringe artists.

CONNECT

t: @snafudance
#InterstellarElder


Picaza 

WHO ARE YOU? 

#FiercelyFlamenco – Inamorata Dance Collective was found in 2014 by Mexican Canadian dancer, Sofía Gudiño, to explore experimental crossovers between contemporary and flamenco dance, music and theatre.

WHY SHOULD PEOPLE CATCH YOUR SHOW?

Their premier full-length work, Picaza, is an honest and visceral look into one woman’s journey to self-awareness, told through bilingual poetry, dance, traditional Latin music, and experimental compositions!

HOW ARE YOU FIERCELY FRINGE?

One of this year’s Culturally Diverse Projects at the Fringe, this group of twelve multidisciplinary artists is #FiercelyFringe, building everything in their grassroots show from scratch and pooling their creative resources to learn from each other and create something completely new.

CONNECT

i: @inamoratadance
#Inamorata2017 #Picaza


Lemons Lemons Lemons Lemons Lemons

WHO ARE YOU?

The Howland Company with Slow Blue Lions

WHY SHOULD PEOPLE CATCH YOUR SHOW?

(1) It’s about love, and law saying you can’t say more than 140 words/day; (2) It’s the healthiest, most citric, show in Fringe; (3) It’s funny and touching, also has a couple of tips for mostly silent relationships.

HOW ARE YOU FIERCELY FRINGE?

(1) women directing and producing*, each for first time; women AD and intern; *producer won Cayle Chernin Award for theatre production’; (2) show is by first time playwright Sam Steiner and comes from UK Fringe.

CONNECT

f: /TheHowlandCompanyTheatre
t: @TheHowlandCo
i: @thehowlandcompany
#lemonslemonslemonslemonslemons


Welcome to the Bunker

WHO ARE YOU

Portius Productions is a brand new company that aims to explore the opportunities different theatrical spaces offer for experimentation with audience immersion and interaction, with an emphasis on all things nerdy. Its inaugural show, Welcome to the Bunker! is written, produced, and performed by Clare Blackwood and Ryan F. Hughes, and is an immersive zombie apocalypse comedy set in a bunker deep below the Theatre Passe Muraille Backspace.

WHY SHOULD PEOPLE CATCH YOUR SHOW?

This is a show for nerds, comedy lovers, and anyone who wants to laugh at two weirdos trying and failing to lead an apocalypse orientation for the survival of humanity.

HOW ARE YOU FIERCELY FRINGE?

We’re pushing the boundaries of how to involve audiences inside of a traditional theatre space, taking them out of their pre-armageddon comfort zones, and maybe singing welcoming songs to them. That is, if the zombies don’t get to them first…

CONNECT

t: @bunkertofringe
#bunkerTO


Macbeth’s Head

WHO ARE YOU?

I’m Kyle McDonald, the founder of Malfi Productions, whose mandate is: to produce entertaining and interesting film, television, theatre, and literature by merging tradition with innovation for an audience who craves emotional and intellectual risk. We’re dedicated to injecting classical material into something contemporary and relevant.

WHY SHOULD PEOPLE CATCH YOUR SHOW?

How many people can say they’ve seen a disembodied head with magical powers running around on a dessert trolley while threatening to destroy all of Shakespeare’s work?

HOW ARE YOU FIERCELY FRINGE?

We’ve gotten this show on the road with pure love: from the illustrator who did our amazing artwork, to the composer who made original music, to our photographer who’s shot us free of charge. Also, there is little to no set, and we’re relying only on our wits to tell the tale of this maniacal head! And, the script is half in original verse, which seems like a pretty bold move in the age of one liner TV scripts!

CONNECT

t: @malfiproduction
#macbethshead #malfiproductions #longlivethehead


Perfect Couples

WHO ARE YOU?

We’re an indie theatre collective dedicated to generating bold new work. We are passionate about stories from underrepresented voices, and providing opportunities for emerging artists to flex their muscles.

WHY SHOULD PEOPLE CATCH YOUR SHOW?

Our fringe show, Perfect Couples, is a good example of this. Written, directed, designed and performed by emerging artists, the show is distinctly millennial. Yet, refreshingly, it’s never reductive or patronizing— there’s not one mention of twitter or selfies. Perhaps more defining as a millennial piece is that it talks about mental illness, which is rampant among 20-somethings. The play is a twisty trip down visual artist Valencia’s unravelling, and we see how her struggle with mental health impacts her relationship and community. Women-driven, queer, sexy as hell…

HOW ARE YOU FIERCELY FRINGE?

Perfect Couples by Mitchell Janiak is both witty and dark. It takes advantage of what Fringe provides— an opportunity to take risk and tell stories that aren’t heard often enough.

CONNECT

t: @PencilKitProd
i: @PencilKitProductions
f: /PencilKit


Monsters By Nature

WHO ARE YOU?

We are Kindling Collective! We take an intersectional feminist perspective to classical works. Our show Monsters By Nature was created in a similar fashion to how Frankenstein made his creature, by piecing together classical and self-written texts, punk and folk music.

WHY SHOULD PEOPLE CATCH YOUR SHOW?

Audiences explore what makes them feel empowered by their inner monster and reflect on their perceptions of people that they fear.

HOW ARE YOU FIERCELY FRINGE?

Monsters by Nature owns the term Fiercely Fringe by its bravery to examine the roots of our fears. It’s terrifying to watch pieces that force you to look into what makes you a monster. But it’s also empowering to do so. At rehearsal last night I thought how fulfilling it feels to be in a room with 6 fierce women, an electric guitar, and bare hearts telling these stories of characters that have remained relevant through the ages. We can’t wait to meet you in the midnight.

CONNECT

i: @kindlingcollective
f: @kindlingcollective
t: @kindlincollec3
#kindlingcollective #whatareyouafraidof


13 Ways the World Ends

WHO ARE YOU?

Good Morning Apocalypse is a comedy troupe from South Ontario, formed in 2015.

WHY SHOULD PEOPLE CATCH YOUR SHOW?

Why see our show? For one thing, we have a hour-long revue about all the ways the world will end, and not once does someone mention Donald Trump. Nothing about what’s happening in the U.K. either, since we couldn’t find a rhyme for “Brexit.” There’s zombies, but not enough to get you all zombied out. At one point someone plays the saxophone – badly. There’s a killer robot, and a killer plague, and a lovely little sketch about how all the bees are dead and we’re next. Mostly it’s full of people who go through their days with a vague sense of dread, and who also have opinions about which of the Mad Maxes is the best Mad Max.

WHY ARE YOU FIERCELY FRINGE?

This is the kind of show that can only happen at Fringe, and we’re fiercely proud of it.

CONNECT

t: @ApocalypseGood
i: @GoodMorningApocalypse
#13WaysTheWorldEnds


White Wedding

WHO ARE YOU?

I’m a female writer / director who is trying to combine those skills for the first time with a new play called “White Wedding”! I’ve had a lot of luck in the past as both a writer and director and now I’m trying to bring those two sides of my brain together with an incredible group of creative individuals!

WHY SHOULD PEOPLE CATCH YOUR SHOW?

White Wedding explores really recognizable feelings in a new way. Instead of asking what happens as a wedding, White Wedding asks what happens in a hallway above a wedding. What private conversations and secrets are told? Who makes out with who? Who ends up drinking themselves into a sad quiet corner somewhere? Why do we celebrate stupid emotions like love again?

HOW ARE YOU FIERCELY FRINGE?

We are creating theatre in a found space firstly because we think it’s a cool thing to do, but also because it’s a necessity. Re-imagining theatre for new spaces for today’s audiences is what will bring in new audiences, make people feel invited to the art form, and open up the stage to something new, something novel, something fierce!

CONNECT

t: @PortAlbertPro
i: @portalbertproductions


Bendy Sign Tavern

WHO ARE YOU?

Sex T-Rex is a comedy collective that has been in the Toronto Fringe since 2013!

WHY SHOULD PEOPLE CATCH YOUR SHOW?

Bendy Sign Tavern is our most Fiercely Fringe show yet- a site specific puppet show where six-legged barflies trade actual Fringe reviews and you can order a pint from a puppet!

HOW ARE YOU FIERCELY FRINGE?

We’ll have rotating fringe guests from our favourite shows. Throw in live music and Sex T-Rex’s signature wit and you’ve got a real tour-de-fierce.

CONNECT

t: @sextrex
f: /sextrexcomedy


MUTTS OR: 101 LIBATIONS

WHO ARE YOU?

The Gracie May Theatre Company, named after the creator’s late childhood dog, is devoted to creating new Canadian content. The company refuses to take any political stand and holds no beliefs whatsoever.

 The founder, Joey Monahan, currently resides in a fortified compound near Georgetown, Ontario.

WHY SHOULD PEOPLE CATCH YOUR SHOW?

MUTTS OR: 101 LIBATIONS is a unique comedy, not for the faint of heart. As dark as it is funny, the story follows two hopeless, helpless, and hapless drunks who steal dogs and return them for reward money to support their addiction. After taking a service dog and causing the death of a blind man, the two find themselves at odds with each other when one wants to continue their lifestyle and the other decides to stop.

HOW ARE YOU FIERCELY FRINGE?

It has been created and is being performed by a small group of local artists. Although the play itself never states a location, it is very much a Canadian, and specifically a Torontonian piece. It has been made with the intention of making people laugh and hurt at the same time, because in life sometimes something can be humorous and heartbreaking at once.

CONNECT

i: @GracieMayTC
f: /GracieMayTC
t: @GracieMayTC
#MUTTS


The Stories of Lantern Tales

 

WHO ARE YOU?

I am a storyteller.

Encountering the storyfire in 1981 at the age of 28, when I hitchhiked 70 miles from St. Catharines to Toronto to hear my first storyteller, Trinidadian Paul Keens-Douglas. I became interested in composing original tales, especially stories inspired by my childhood in the Ottawa. Valley. I am a violinist/fiddler and featured in festivals across Canada and abroad.

WHY SHOULD PEOPLE CATCH YOUR SHOW?

Composed in traditional forms The Stories of Lantern Tales are unique, shaped by a childhood spent in the countryside of Black Bay Road.
 They are an excellent opportunity for listeners to meet the devil, a 4 tonne traction engine with a soul, 12 sea serpents and a cedar canoe pulled by six Ottawa Valley beavers.

HOW ARE YOU FIERCELY FRINGE?

The distillation of images and experiences that came from growing up as a child in an isolated Ottawa Valley countryside, wandering alone along endless trails in the woods, the silence of a winter moon.

Through the imagination of the listener those experiences live again.


Death Meets Harlequin

WHO ARE YOU?

Unspoken Theatre was founded in 2011 by sisters Nina & Natalie Kaye, and focuses on new writing with a classical influence. We have produced over a dozen new plays by local women writers.

WHY SHOULD PEOPLE CATCH YOUR SHOW?

Our short comedy, Death Meets Harlequin tackles big themes with a light heart, using archetype, music, dance, Commedia dell’Arte, and physical comedy to infuse our attitude on life and death with a little optimism.

Our cast and crew are Festival veterans, with credits at Alumnae Theatre’s New Ideas Festival and Big Ideas Festival; SoCap Theatre’s Short Short Play Festival; InspiraTO; and the Toronto Fringe.

HOW ARE YOU FIERCELY FRINGE?

Death Meets Harlequin offers something for everyone. A deeper meaning for the philosophical thinkers; bright costumes and silly songs for the kids; great new writing for the lovers of literature; a touching family story for the ones who cry and laugh at once; and a circus pre-show by Deflying Feets for anyone else!

CONNECT

t: @TheatreUnspoken
#FringeKidsFest
#FringeFemmeTO
#deathmeetsharlequin


The Diddlin’ Bibbles Live in Concert!

WHO ARE YOU?

Lesley Robertson and Matt Shaw are “The Diddlin’ Bibbles”, a comedy band making their Toronto Fringe debut. Co-written and directed by the hilarious Dana Puddicombe, “The Diddlin’ Bibbles Live in Concert” tells the story of Rose-Marie and Jessop Bibbles, a sex-positive and spiritual singer-songwriter duo, who have travelled from small-town Wisconsin to Toronto to perform at the Toronto Fringe Festival – their lifelong dream.

WHY SHOULD PEOPLE COME SEE YOUR SHOW?

Their show, “The Diddlin’ Bibbles Live in Concert” is part sketch comedy, part live concert, part mockumentary, part metatheatre, and part love story. Think: Flight of the Conchords meets Christopher Guest’s A Mighty Wind meets #the6ix.

HOW ARE YOU FIERCELY FRINGE?

This show is “fiercely fringe” because it’s a new play written and designed specifically for the Toronto Fringe Festival, St. Vladimir Theatre, and Toronto audiences! The entire show is a self-reflexive comedy spoofing the experiences of the Toronto Fringe Festival, the arts, and the city of Toronto.

CONNECT

w: www.thediddlinbibbles.com
f: /thediddlinbibbles
i: @thediddlinbibbles
t: @DiddlinBibbles


Madeleine Says Sorry

WHO ARE YOU?

Prairie Fire, Please was founded by Aaron Jan and Madeleine Brown, lightweights with no taste whatsoever in alcohol. We welcome you to judge our poor choices – we’re likely already judging yours. Madeleine Says Sorry is the company’s inaugural production. Will it be our last? Depends how bad the hangover is…

WHY SHOULD PEOPLE CATCH YOUR SHOW?

Where else can you see a 6×4 foot poster-shrine of David Suzuki, and a magical cardboard Apologemeter X that descends from the heavens?

HOW ARE YOU FIERCELY FRINGE?

How are we #FiercelyFringe?
 We collectively had three very successful fringe shows last year. Rowing, Silk Bath, and Knots. This one is nothing like any of those shows. Our process has been entirely funded by popsicles. 
We never start rehearsal on time. Our director cannot afford underwear. We are one of the most diverse teams in the Toronto Fringe! #FiercelyFringe

CONNECT

t: @MadeleineSaysTO
i: @madeleinesaysto


Pillow Talk

WHO ARE YOU?

We are a group of comedians, actors and creators who met while attending the Second City Conservatory Program. Shortly after graduating, Charlotte Cattell and Olivia Brodie-Dinsdale reconnected to start a sketch duo, the O.C. After their successful show at Montreal Sketchfest they thought there would be no better idea than asking their friend and fellow creative, Adam Martignetti to join them in making a completely original sketch revue.

WHY SHOULD PEOPLE CATCH YOUR SHOW?

Pillow Talk is not what you would expect from a traditional sketch revue, we wanted to keep things real and make it more than just making people laugh. We tackle those intimate and vulnerable moments in life that people wouldn’t normally talk about openly. Pillow Talk, doesn’t imply the usually sexual connotation. I mean, we would like to think we are pretty darn sexy!

HOW ARE YOU FIERCELY FRINGE?

Written by 3 real people about real experiences, Pillow Talk couldn’t be anything more than “Fiercely Fringe”! We are people with anxieties, fears and the notion that ghosts are real! But what is more fierce than displaying those moments for everyone to see.

CONNECT

f: @Pillowtalkfringe2017
t: @PTFringeTO17
i: @pillowtalkfringeto


Lysistrata

 

WHO ARE YOU?

how.dare.collective. is making their debut at this year’s Toronto Fringe. The brainchild of two-time Las Vegas Burlesque Hall of Fame performer-choreographer St. Stella and writer/director Kay Brattan, their mandate is to create theatre for the underdog – representing the underrepresented. The Lysistrata company is made up of experienced and talented performers from both the theatre and burlesque communities, and some of whom are well-known in both scenes, such as Sebastian Marziali (El Toro to the burlesque & boylesque community).

WHY SHOULD PEOPLE CATCH YOUR SHOW?

Lysistrata brings an appetizing take on classic Greek comedy to the contemporary audience. Brattan has used her own words to combine three different translations of Aristophanes’ work, and through the combination of slam poetry, songs and striptease, this will be a retelling of the story the likes of which has not been seen before, with the two mediums blending to embody and convey the messages of the piece (such as female empowerment, peace not war and, of course, equality).

HOW ARE YOU FIERCELY FRINGE?

With this show, we bring together the varied talents of our diverse company to tell this story in a fresh, powerful and memorable spectacle. Bring on the glitter and good times!

CONNECT

i: @LysistrataTO
t: @Lysistrata_TO
#LysistrataTO
#SlamPoetrySongsAndStripTease
#GlitterAndGoodTimes


The Miserable Worm

 

WHO ARE YOU?

We are Let Me In, a theatre collective spearheaded by Justine Christensen and Patrick J. Horan. We seek to remix, alter, satirize, and break “classical” plays, thrusting them into a contemporary landscape.

WHY SHOULD PEOPLE CATCH YOUR SHOW?

Our show, The Miserable Worm, exposes gendered expectations often ingrained in old works, bringing to light new colours from Chekhov’s “untitled play”, which our show is based off of. The story is made new through gender-bent casting; particularly by placing a woman in the title role of the smarmy playboy Platonov.

HOW ARE YOU FIERCELY FRINGE?

Let Me In’s The Miserable Worm is Fiercely Fringe because it draws in and implicates the audience into the action. As soon as they walk through the doors of the Annex, each audience member becomes a guest at the Platonov Estate. They are privy to the events and intimacies of a fatal night of hard drinking and painful nostalgia. Oh, and it’s going to be really funny. 

CONNECT

t: @LetMeInTheatre


Lover Lover

WHO ARE YOU?

Subverting Something is a company founded by Veronika Gribanova and is now based in Toronto and New York. Our mandate is our name. We’re almost half serious.

WHY SHOULD PEOPLE CATCH YOUR SHOW?

A lesbian and a straight man walk into a bar: a love story. It’s complicated. Lover Lover is a story about the limitations and possibilities of love. This site-specific play is an intimate conversation between strangers in a public space. At Nightowl, a bar in Little Italy, audience members can have a drink and watch the story unfold. Allow us to subvert your expectations.

HOW ARE YOU FIERCELY FRINGE?

Lover Lover explores issues that aren’t often discussed in a public setting. Questions of sexuality, identity, and polyamory, as well as of vulnerability and intimacy, are brought to light. We have risked placing emotion at the centre of our work and we are telling the truth as we understand it, which is both an obligatory and subversive act.

CONNECT

i: @subvertingsomething
t: @subvertingsome
#loverlover


For the Love of Pie

 

WHO ARE YOU?

I’m the daughter of a French Canadian mother who taught me the importance of butter and extravagance. For the Love of Pie, my play, showcases a lot of that French “je ne sais quoi”! Montrealers and Chicagoans were dazzled by the show nominating it for Best Solo Theatre Production (Montreal Fringe) and naming it one of of the 5 Best Bets of the Chicago Fringe (TimeOut Chicago).

WHY SHOULD PEOPLE CATCH YOUR SHOW?

Why see it, Toronto? Because sometimes we take ourselves too seriously and need to be reminded that life is not as easy as pie and why not embrace failure as opposed to suppressing it.

HOW IS YOUR SHOW FIERCELY FRINGE?

It’s fiercely fringe because, well, it’s just me writing, producing and playing three very extravagant characters leading over the top ridiculous lives and my challenge is to make their story resonate with the audience.

CONNECT

t: @PieGeorgiaPeach
#FortheloveofpieTO


HEXEN  

WHO ARE YOU?

The Creation Coffin is a Toronto based company that focuses on progressive work, emerging artists and female creators. The cast and crew of Hexen are all recent Randolph Academy Alumnae.

WHY SHOULD PEOPLE CATCH YOUR SHOW?

Fringers should be sure to see Hexen because it is a savage critique on the society that we have constructed for ourselves, through a powerful, sexy and feminine lens.

HOW ARE YOU FIERCELY FRINGE?

Hexen is truly “fiercely fringe”. The show and our site-specific venue are designed to make you feel like you’re deep in a forest. Because of this we did the majority of our rehearsals outdoors and we have benefited greatly from the inspiration that nature provides. Stylistically, Hexen is quite pioneering – we would describe it as a “deconstructed musical”, something we have never seen done before but are fiercely experimenting with for this year’s Fringe Festival!

CONNECT

f: /thecreationcoffin
i: @thecreationcoffin
#hexenfringe


Wanted

WHO ARE YOU?

Sue Morrison is a world-class teacher of performance-oriented Clown and Bouffon.

Mélanie Raymond has been working and training at DynamO Theatre (acrobatical theatre) for 15 years.

WHY SHOULD PEOPLE CATCH YOUR SHOW?  

The performance has been described as like having a conversation with a best friend that you didn’t know you had. The arc of the show is affected by the qualities that the performer brings to the theatre each night, and the qualities of the audience, and how those interact. The audience is part of what happens each night and no two shows are the same.

HOW ARE YOU FIERCELY FRINGE?

This is outsider theatre. This is bottom-up, grassroots theatre. The collaborators developed the script through a process of question and answer, call and response between the outside eye and the inside eye… a bricolage brought to life using the language of twelve masks. There is a universality to the experiences that the performer encounters and explores.

CONNECT

t: @guayoyo_ca
i: @guayoyo_ca
#WantedTF


RISE/FALL  

WHO ARE YOU?

Malcontent Theatre Company is a diverse, grassroots indie company made up of performers from students to seasoned professionals. We are committed to inclusiveness and challenging standards.

WHY SHOULD PEOPLE CATCH YOUR SHOW?

RISE/FALL is an immersive, site-specific production that has the audience divided by a wall. A unique show happens on each side, and occasionally interacts with the other side. The wealthy percentage of society has gained control of the government and banished anyone of minority to the other side of a wall.

HOW ARE YOU FIERCELY FRINGE?

This production is fiercely Fringe because we are an independent group of local artists, who are playing around with new theatrical concepts and tackling political issues with no holds barred. We are creating a show unlike anything any of us have ever seen, and are taking a huge risk with such a complicated concept. This deals with subjects that are close to everyone’s hearts, including segregation, prejudice, racism, homophobia, and Trump’s America.

CONNECT

t: @MalcontentTC
#RiseFallFringe #BreaktheWall


The Night Hart Crane Kissed Me  

WHO ARE YOU?

We are Spindrift and our combined talents include: acting, writing, directing, magic, music and stage combat! We put all of these to use in our very first Fringe outing, The Night Hart Crane Kissed Me.

WHY SHOULD PEOPLE CATCH YOUR SHOW?

What’s a Hart Crane you may be asking? Answer: a sailor-loving, hard-partying poet who burned through the burlesque houses, vaudeville theatres, boxing matches and speakeasies of Jazz age New York before blazing out at 32. His grave merely says: Lost At Sea.

HOW ARE YOU FIERCELY FRINGE?

We chart his final hours, explore how his life and art intersect with our own, and attempt to invoke the feeling of encountering his poetry for the first time using all of the rad methods mentioned above. This summer we invite you to get #KissedByHart

CONNECT

t: @spindrifttc
i: @spindrifttheatreTO


Ten Creative Ways to Dispose of Your Cremains 

WHO ARE YOU?

We are Theatre Rhea and Neoteny Theatre.

WHY SHOULD PEOPLE CATCH YOUR SHOW?

Yes, it may have the longest title ever, but most importantly it’s a millennial love letter dedicated to the misfits of the Peter Pan Generation. Lucy and Bennett, our two main characters, are lonely but are given the chance to connect. Written by Rose Napoli and directed by Carly Chamberlain, be sure to visit us in the backspace of Theatre Passe Muraille, just down the street from the tent!

HOW ARE YOU FIERCELY FRINGE?

Our characters are just like the people who come to the fringe. People who exist on the periphery, and find a connection by being on the outside. The show itself may be about nothing. Or it may be about everything. But it’s definitely about an urn of ashes and six popsicles.

CONNECT

#CreaminsTO
t: @TheatreRhea


The Life Henri 

WHO ARE YOU?

Award winning Artist Adam Bailey: creator of Fringe hits The Assassination of Robert Ford and Adam Bailey is on Fire, and director of The Enchanted Crackhouse .This year I’m doing The Life Henri, a play about dead painter Henri Rousseau. It includes a slideshow and we’re selling wine. 

WHY SHOULD PEOPLE CATCH YOUR SHOW?

It’s a really intimate experience that’ll sweep you away. We got four stars when we tested it in Edmonton and it deftly touches on some modern issues like bullying. Plus, slideshow!

HOW ARE YOU FIERCELY FRINGE?

Henri Rousseau should be the patron saint of Fringe. An outsider artist, spends years unlocking the key to success, overcoming poverty and incarceration along the way. Also, I mash his story with a 1970s horror movie and somehow that makes it all very touching.

CONNECT

i: @still_your_friend
t: @stillyourfriend
w: www.stillyourfriend.com
#thelifehenri


Traffic Jams

 

WHO ARE YOU?

Resilience Theatre. We are a feminist theatre company dedicated to telling women’s stories and those of the underrepresented. This is our first production and hope this opportunity will allow us to make connections and create more content that young people can relate to that illustrates their experiences.

WHY SHOULD PEOPLE CATCH YOUR SHOW?

Five-word pitch: woman attacks depression with ukulele! See this show because it’s funny, relevant, and sometimes uncomfortable. It deals with issues many young people are facing, particularly artists, and highlights the different ways mental illness can surface within one person.

HOW ARE YOU FIERCELY FRINGE?

This show came from a late-night phone call between two friends about mental health and artistic struggles. We refused to wait for this story to be told, so we’ve brought it to the stage ourselves. Mental illness is tough to talk about, even for us, but by taking the risk to show this battle, we can contribute to a dialogue on mental health.

CONNECT

f: /resilienceTO
t: @resilience_TO
i: @resilience_to
#trafficjams


Love and Information  

WHO ARE YOU?

The play is by Caryl Churchill, will be directed by Andrea Donaldson and performed by the 5th term students at Randolph Academy for the Performing Arts. Our show is essentially 50 mini shows packed into one.

WHY SHOULD PEOPLE CATCH YOUR SHOW?

Contemporary issues regarding knowledge, communication, and our capacity to love and be loved are beautifully represented. We explore these issues in the most unique ways, incorporating movement, song, and even silence. There is so much to take away from this beautiful painting of humanity.

HOW ARE YOU FIERCELY FRINGE?

As the actors, we have been very thankful for the process. Every day we go into rehearsal and are utterly moved by our discoveries. We dive into various human behaviours, points of view, sexualities and cultural differences. When something doesn’t work, we ask ourselves why, and approach it from a different angle. It has been the most incredible journey for us, and we cannot wait to share it with Toronto.

CONNECT

#RALoveandInformation #LoveandInfo #LoveandJan #JanLovesInfo #RAPA


 The Resurrectionists  

WHO ARE YOU?

House of Rebels Theatre started in 2014 as a podcast audio drama company, that has since expanded into interviews and original stage plays. In the 2016 Toronto Fringe, we produced King of the Castle, and are excited to bring another exploration of morals and humanity to the Randolph Theatre this year!

WHY SHOULD PEOPLE CATCH YOUR SHOW?  

The Resurrectionists tackles one of the western world’s best-kept, darkest secrets. Grave-robbing in the 19th century was a rarely-reported crime that occurred anywhere people studied medicine. Shortages of bodies with surpluses of students lead to creative, criminal solutions to the growing demand. This play examines Canada’s habit of hiding it’s less-savoury history, and why we keep letting ourselves do so. 

HOW ARE YOU FIERCELY FRINGE? 

The Resurrectionists is co-produced with Theatre Parallax. We are companies interested in theatre that is provocative AND entertaining – and we don’t believe those are mutually exclusive qualities. We want to have our art, and like it too.

CONNECT

t: @RebelsTheatre
i: @RebelsTheatre
w: www.rebelstheatre.com


Kassandra aka Joyia, Fringe Concert Series  

WHO ARE YOU?

My name is Kassandra, aka Joyia, and I’m a musician. I’ve made it my mission to make unique music, which represents myself. I make all of my songs in both acoustic and electronically produced versions. I make music that combines R&B with a bit of an electronic sound. I’ve coined my genre as “soultronic,” and want to bring the genre to life in my own unique way.

WHY SHOULD PEOPLE CATCH YOUR SHOW?  

I’m part of the Fringe concert series on July 9! True songwriting and composition has always been my passion, and I’ve been building up a new repertoire over the last few months. For the first time, I’m making music that I feel is 100% me, and it’s the most liberating feeling ever.

HOW ARE YOU FIERCELY FRINGE?

I create art for the reason art was created. It’s a freedom of expression, a chance to connect people. It’s finally giving me a chance to share my true self with people. It’s been a long journey of self-discovery, and I can finally say that the music I make truly represents me. 

CONNECT

t: @joyiamusic


Life Records 2: Side B 

WHO ARE YOU?

I’m Rhiannon Archer & I wrote/perform Life Records 2. This company is just me & I named it after my late dog Beefy. He was really great! 

WHY SHOULD PEOPLE CATCH YOUR SHOW?

2 words: IT’S FUN! Everyone should see Life Records 2. Unless if you hate fun, then maybe just stay home.

HOW ARE YOU FIERCELY FRINGE?

7 words: Because I’m Fierce & in the fringe! I’m really putting myself out there in order to connect myself and the audience with one another.

CONNECT

t: @rhiannonarcher
@LifeRecordsTO
i: @rhiannonarcher


A Flea in Her Ear

 

WHO ARE YOU?

Pulse Theatre’s “A Flea in Her Ear” is a modern adaptation of one of the greatest vaudevilles ever! We made the characters quirkier, the relationships more sensual, the show more exciting! A splendid cast, terrific creative team, a visionary director.

WHY SHOULD PEOPLE CATCH YOUR SHOW?

The energy, the sexiness, the colorfulness, the playfullness- our show is funny and entertaining! All the original comedy gold, plus hippies and furries, and just a touch of…well, let’s not spoil the surprises! Even if you do know the original script – you don’t know this show!

HOW ARE YOU FIERCELY FRINGE?

A part of Pulse Theatre’s mandate is working with immigrant artists and diverse performers – “visible and audible minorities”, and we did just that – our talented cast and crew depicts the wonderful diversity of Toronto’s theatre scene. A fierce comedy with a powerful ensemble and crew, and beautiful promo art by the amazing Derrick Chow! Our Flea roars like a tiger!

CONNECT

#afleainherear


The Balding 

WHO ARE YOU?  

Jeff Gandell is a Montreal writer, storyteller, actor, musician and teacher. I tell stories that aim to make people laugh and feel a greater connection to the emotional landscape of the universe.

WHY SHOULD PEOPLE CATCH YOUR SHOW?

The Balding is a hilarious story about a twenty-year-old man who’s convinced he’s going bald because he’s still a virgin. In his quest to find romance, he falls down a rabbit hole of dangerous car accidents and property destruction. It’s a show about learning to love the fleeting nature of all our lives. Basically, the lighter side of mortality and decay.

HOW ARE YOU FIERCELY FRINGE?  

It’s funny! The rawness and vulnerability of the protagonist will make audiences concurrently laugh and feel better about their own insecurities. Plus, there are a couple of raucous rock n’ roll numbers. And it’s a masterfully constructed story that will leave audiences breathlessly anticipating what comes next. Come on!

CONNECT

t: @jeffgandell
i: @jeffgandell


Recall

 

WHO ARE YOU?  

Seven Siblings Theatre utilizes the Michael Chekhov Acting Technique to create the Theatre of the Future, Fantastic Realism. We’re presenting a sci-fi thriller that pushes the boundaries of government control. Written by genre-shattering female playwright Eliza Clark, the show is centered around a mother and daughter relationship holding their ground as the government tries to “RECALL” potentially dangerous or psychopathic children. 

WHY SHOULD PEOPLE CATCH YOUR SHOW?

Clark dives into a troubled child’s mind and examines emotional understanding as the two desperately try to start fresh. The world of this play is a truthful and surreal depiction of our future society.

HOW ARE YOU FIERCELY FRINGE?

This Fiercely Fringe show not only gives us sci-fi in theatre, something you don’t see often, but gives women the lead narrative in what is usually a male domain. Plus… we have violence, blood, guns, mature language, a shopping list of food props, sci-fi machinery, and a sick sense of humour. We’re fierce as f$%k.

CONNECT

t: @SevenSiblingsCo
#RecallTO


On The Inside  

WHO ARE YOU?

My name is Michelle Thoms and I’m the writer and director of On The Inside, a play about a young woman caught in the vicious cycle of Canada’s Corrections System. It doesn’t stop there though, it’s also about humanity and the lengths people go to survive.

WHY SHOULD PEOPLE CATCH YOUR SHOW?

People should watch this show because it raises questions about solitary confinement, society and about the grey area that sits between professionalism and caring.

HOW ARE YOU FIERCELY FRINGE?

We are pushing the envelope by taking a true story and extending and exploring further questions that surround it. Questions like: Why is the rate of women of colour increasing at a dramatic rate in Canadian federal prisons? Why is self injury increasing in women’s prison? Is “othering” used in the prison system and to what extent?  As well, On The Inside is taking a risk because it is being presented as a docutheatre production. 

CONNECT

t: @ontheinside17
i: @ontheinside17


*Submissions have been slightly edited for clarity and length.


But wait! There’s more!

For more #FiercelyFringe, continue here.

 


 

A Little Chat with playwright Anusree Roy on “Little Pretty and The Exceptional”

Interview by Brittany Kay

We always leave a chat with Anusree Roy feeling inspired and motivated. It was once again a pleasure to have a little chat with her about her latest play LITTLE PRETTY AND THE EXCEPTIONAL, on now at Factory Theatre. We spoke about her inspiration for the piece, where the name comes from, and how her working relationship and friendship with the late dramaturge Iris Turcott played an instrumental part in her life as a writer.

BK: Tell me a little bit about your show?

Anusree Roy: Please come see it. Then you’ll know what it’s about : )

BK: What inspired you to write this piece? Where did this story come from?

AR: In 2011 when I was finishing up my play Brothel #9, I saw a vision in my minds eye, of a father holding his daughter who was wearing a white outfit. Instinctually I knew it was a play and I knew I had to write it. I started to investigate what it might be about and gradually a plot started to emerge. Slowly character voices came and before I knew it I was writing.

Shelly Antony, Shruti Kothari, Farah Merani, Sugith Varughese in LITTLE PRETTY AND THE EXCEPTIONAL

BK: Why the title Little Pretty and The Exceptional?

AR: The title was given by Iris (Turcott) actually. Since the play is about two sisters and a lot of it is inspired by my sister and my life and our dynamic, Iris suggested the name. My name, when translated to Bengali, means Anu = Little, Sree = Pretty and my sisters name Ananya = The Exceptional. So Iris wanted that to be the name as it was fitting.

Sugith Varughese and Shruti Kothari in LITTLE PRETTY AND THE EXCEPTIONAL – Joseph Michael Photography

BK: I know the late Iris Turcott played a critical part in the development for this piece. Can you talk about the process, what it was like to work with her, and how she played an instrumental part in your life as a writer? 

AR: It was phenomenal actually. Along with being my dramaturge, she was my best friend. We would do weekly sessions. I would go to her place every Wednesday with scenes and she would sit by her blue coffee table, with a red pen in hand, and edit my words. It was the most terrifying and exciting time! Slowly when a draft emerged we did workshops to test it out and then more rewrites.

BK: You wear so many different hats, from playwright to director, in so many of your shows. What has it been like wearing just one hat (playwright) for this production?

AR: It’s been great actually. I have just been able to focus on the writing. It’s been useful.

Shruti Kothari and Sugith Varughese in LITTLE PRETTY AND THE EXCEPTIONAL – Joseph Michael Photography

BK: Why Factory Theatre for this show?

AR: Because I love them. They treat me well – with respect and kindness and Nina is a brilliant AD along with being a beloved friend of mine. I am in awe of the work she is doing at Factory and how much she has changed the face of that theatre. There is passion in that company.

BK: What do you want audience’s walking away with?

AR: I want them to walk away with compassion and a greater awareness of the world around them. That will make me so happy.

Little Pretty and The Exceptional

Who:
Written by Anusree Roy
Directed by Brendan Healy

What:
Simran is gifted, complex and, haunted. Jasmeet, her younger sister, is the typical hip Toronto teenager. Together with Dilpreet, their delightfully overprotective and traditional father, they are frantically trying to get ready for the opening of their new sari shop on Gerrard Street. To achieve their life-long dreams, the family must come together to find new strength and exorcise the demons of their past. Charming, tragic, and full of life, this is a deeply moving story about the taboo around mental health issues in the South-Asian community, and the power of familial ties in the face of adversity.

Where:
Factory Theatre Mainspace
125 Bathurst Street

When:
On now until April 30th

Tickets:
factorytheatre.ca

 

“Power, Authority & Shaking Up Traditional Structures” In Conversation with Rob Kempson, Playwright/Director of TRIGONOMETRY

Interview by Brittany Kay

We had the pleasure of re-connecting with playwright/director/artist/educator/all-around smart-cookie Rob Kempson to chat about Trigonometry, the final instalment of his trilogy, The Graduation Plays. We spoke about what can come with taking time to explore a subject more thoroughly, the need to shake up traditional structures with power and form, and how he wants these plays to ignite more complex discussions that continue beyond the show. The world premiere of Trigonometry runs from March 16th to March 25th.

Brittany Kay: Tell me a little bit about your show?

Rob Kempson: I think the best way talk about the show is in the context of it as part of a bigger series. I think, like all the other shows in the Graduation Plays series, Trigonometry is about the interaction of power and authority structures in a school setting. What I found from my own teaching is that students have the capacity to take power that maybe isn’t assigned to them in a traditional school atmosphere. The authority in the school is clear but the power is not. These plays explore how we manipulate power and how the powerless gain their voice.

I have found in this series that some sort of student expression of sexuality is a great way for them to steal power because, being in a school setting, a lot of that is about tight-lipped, very square principals. It doesn’t always mean that they’re having sex. It means that they understand that by talking about, or referring to, or in some way bringing up sexuality, it makes teachers uncomfortable because they’re not allowed to talk about it in a school. I found that sort of tension really interesting.

Photo of Daniel Ellis, Alison Deon and Rose Napoli by Robert Harding.

BK: Why are you so drawn to the themes of student power and authority?

RK: I’m really interested in that idea because I don’t know how the education system can grow and change and find what’s next, unless we address the way in which students are now on the same level as teachers. We aren’t as different as we once were. I think unless we figure out how to tackle that, the education system is going to be stuck in this bizarre route for a long time.

BK: What makes Trigonometry different from your other two shows in the series?

RK: In this particular case, I tried to take a different perspective than the other two plays. If I was to simplify it down, I think SHANNON 10:40, Mockingbird and Trigonometry are all about the same thing. Something happens where a student takes power, it’s unexpected, and it’s about the way into that, which I think is different between them. SHANNON 10:40 is a largely student perspective, Mockingbird is a largely teacher perspective and Trigonometry is about the parent perspective. I think that’s why this is the end of the trilogy. I sort of found three different ways into the same problem. I don’t think I’ve solved the problem in any of the plays, but I’m interested in finding out how using those different perspectives enlightens new aspects of it.

Trigonometry 1

Photo of Rob Kempson by Robert Harding

BK: In the Greenroom has been able to talk to you about both shows in The Graduation Plays. You and I spoke at the beginning of your process and here we are at the end of it. Do you feel satisfied that this is the final play of the trilogy?

RK: I needed to work out what I wanted to work out. What all of this meant? Why this has been a multi-year process of writing all these things? I think this started as a nugget that I was picking at and I realized I wasn’t going to be satisfied just picking at it. I needed to go as deep as I could. I felt in writing the first two that I hadn’t quite uncovered everything that I wanted to uncover. I knew there was more there to explore, but I didn’t know exactly what that was going to be. The Graduation Plays, in a way, is a graduation for me as a writer and as an artist because I really gave myself the opportunity to spend time exploring a particular theme in a particular area. Not only with different plays, but in different structures of those plays with really different numbers of characters and really different play setups.

Photo of Daniel Ellis by Robert Harding

BK: Why the title Trigonometry?

RK: Everyone should read Sarah Ruhl’s 100 Essays I Don’t Have Time to Write. Sarah Ruhl is one of the greatest writers still living and that book says a lot of smart things that are very digestible. She talks a lot about play structure and one of the things she questions is why we see plays as having an arc and what would happen if a play had a different shape. I started thinking about that, what would a triangle shape play be like? The laymen’s answer is that it would have 3 people in it. I just started to think about why that was an interesting structure to explore. What did making a triangle play mean for me? Does this play have an arc? Of course it does, but it does happen in 3 separate parts. Each character is used in the same way. Each are only in 2 of the three scenes.

BK: How does trigonometry come into the structure of the play?

RK: The play is designed like a trigonometric function. If you know the sohcahtoa method, so SOH stands for Sine, which is opposite over hypotenuse; CAH stands for Cosine, adjacent over hypotenuse; and TOA stands for Tangent, opposite over adjacent. I built the play that way. If you assign each of those to characters and you sort of extrapolate as to why you might call those characters by those titles and then you apply those trigonometric functions to those characters, what happens in those scenes is mathematical.

Photo of Alison Deon by Robert Harding

BK: Incredible. Do you need to know anything about math to see the play?

RK: No. (laughs) If you watch it, you would never see that unless you really went into it with that perspective. That’s where the title came from. It came from me wanting to write a triangle play and I get a bit obsessed with ideas like that. I sort of spin into what could that mean structurally, what could that mean in content, in tone, and form, and all of the other things you think about. I love finding things to weave through.

One of the most common things teachers say is that math is all about relationships. If math is all about relationships between angles and lines and numbers and symbols and all of the things that go into that, then math is of humans and humans are of math. There is a connection there that maybe we like to sometimes deny. It was a really neat discovery… I also had to watch so many Youtube videos about trigonometry to try to remember.

Photo of Daniel Ellis, Alison Deon, Rose Napoli by Robert Harding

BK: Where did the inspiration for this specific story in the trilogy come from?

RK: I have no idea. I mean a lot of the catalyst for the first play, SHANNON 10:40, came from what was the 2015 fight against the new Sex Ed. Curriculum. This play riffs on that in a way that Mockingbird didn’t. I needed to explore it more actively. It started from there.

The other thing that is true of Trigonometry, is that I don’t really love any of the characters. That’s not something that people generally do. I tend to write people who I mostly like with some villains. I started thinking about people who I don’t agree with politically or philosophically or educationally. We are living in such a polarized world that we have to try to learn how we listen to one another and who’s deserving of that respect. I tried to listen to what those people had to say. They became some of the voices in the play.

BK: Why this story right now?

RK: I think that this is a story that is now. One of the things that I think is a fact in contemporary classrooms that is such a struggle are cell phones. It sounds so simple and silly and trite. The effect of having personal property that you can’t abscond or take away from kids that is so distracting to them changes the education game entirely. It changes the power dynamic between students and teachers. I think that anyone who has been in a contemporary classroom will see themselves in this play in a way that is frustrating.

BK: Oh yes. It’s insane, they’re just staring at their phones and re-watching Snapchat videos.   

RK: I’ve been in those rooms, where the integration of technology is really exciting and innovative, but where I get a bit lost, is the way in which it allows a whole other avenue for students to be making bigger choices in the way they choose to react to what their teachers are saying. It’s not only the choice of apathy or tuning out and looking at their phone, it’s also the choice of if they record you. Are they taking your picture? Are they texting their friends saying something about you? The power dynamic really changes because students have this thing that disables you. This play is for “now” because this is a story that happens everyday in schools and I really wanted to explore that.

Photo of Rose Napoli by Robert Harding

BK: Tell me about your cast?

RK: The actors are the most amazing humans. Rose Napoli is giving a performance that will be talked about for a long time. She is remarkable. I was new to Daniel Ellis. I saw him in The Circle and, working with him, he has just so many great insights about who the character of Jackson is and how he is able to tread the line between being a good kid that maybe does bad things. Alison Deon, who I think is one of the most under-used actors in the country, who I’ve known for a number of years from the Thousand Islands Playhouse, is a brilliant performer. Her range is enormous and it’s really exciting to be able to showcase her in this city. People deserve to see the work of all three of these actors. They’re just phenomenal.

BK: And your creative team?

RK: I’m once again collaborating with the fabulous Lisa Li. She’s the best and has been a real dream to work with as she always is. She’s also working with the support of Erin Vanderberg. Katie Saunoris is our marketing and publicity person. Beth Beardsley is our stage manager and is amazing and everyone should hire her. They are an amazing team. Dream dream dream.

Then we look into the design. Anna Treusch is our set and costume designer and is one of my most deeply loved collaborators. In the next 3 months, we are working on 3 shows because we work so well together. She forces me to work really hard. It’s a good relationship. Kaileigh Krysztofiak is a new collaboration for me and is a such cool up-and-coming lighting designer. When I found out that Andy Trithardt, who I’ve seen as an actor a million times, was also a sound designer, I wanted to get him on board. He’s looking at how the idea of trigonometry comes into the design. How and where do we see triangles and how do we hear that? How can we hear things in three? The design team is allowing this play to be explored more fully and deeply.

Photo of Anna Treusch, Beth Beardsley & Rob Kempson by Robert Harding

BK: What do you want audiences walking away with?

RK: I want them to be divided. My favourite thing is for audiences to walk out and have something to talk about on the car ride home. I don’t want them to come out and have the same opinions of each of the characters. I want people to like one character over the other. Questioning who is making the right decisions for the right reasons. I hope that there is a lot of disparate conversations happening after the show. I really want audiences to walk out with something to chew on for themselves. John Patrick Shanley’s Doubt is such a brilliant parable not only because it’s such a well written play, but because it makes you feel doubt. You walk out feeling the thing that he asks you to explore through these characters. While my play is not called Doubt, I want people to walk out feeling differently about the people that they just witnessed and maybe testing their own morals or testing their own values through the lens of these characters on stage. That’s exciting…I think, I hope!

BK: Anything else we need to know about?

RK: This play stands on its own, so if you haven’t seen the other two in the trilogy that’s okay. You don’t need to. There’s nothing that you will miss. For those who have seen both or any part of it, I think that this will be a really great conclusion for you. I feel so grateful that I have been able to work with collaborators on all three of these pieces that have allowed me the artistic freedom and desire to explore something as fully as I can. If you want to see the outcome of that, I’d encourage you to come out and check out the show.

Trigonometry

Who:
WRITER & DIRECTOR: Rob Kempson
SET & COSTUME DESIGNER: Anna Treusch
LIGHTING DESIGNER: Kaileigh Krysztofiak
SOUND DESIGNER: Andy Trithardt
FEATURING: Alison Deon, Daniel Ellis, Rose Napoli
PRODUCER: Lisa Li
PUBLICIST: Katie Saunoris
ASSOCIATE PRODUCER: Erin Vandenberg

What:
Gabriella wants action. Jackson wants a scholarship. Susan wants a family. In this new play by Rob Kempson, three disparate people find themselves bound together by desire, destiny, and a few scandalous photos. Trigonometry is about how far we go to get what we want: what we do to survive.

Where:
Factory Theatre, Studio Space
125 Bathurst Street, Toronto, ON M5V 2R2

When:
March 16 – March 25

Tickets:
416.504.9971
trigonometrytheplay.com

Connect:
#trigtheplay
w: trigonometrytheplay.com
fb: Trigonometry Facebook Event
t: @rob_kempson

Meet Some of the Cast & Characters: 

In Conversation with Trey Anthony, playwright of “How Black Mothers Say I Love You”

by Bailey Green

NB: Trey uses the spelling of womyn when referring to black women in her directors note, so we have respected that in this piece within her quotes.  

Trey Anthony was inspired to write How Black Mothers Say I Love You when she read The Top Five Regrets of the Dying. During that time, Anthony’s grandmother was diagnosed with terminal cancer. Anthony decided to interview her grandmother and when she asked her if she had any regrets, she said her biggest regret was leaving her children behind in Jamaica when she moved to England to seek a better life for her family. She believed that her daughter, Anthony’s mother, had never forgiven her for that decision. “The more research I did, I realized there were so many womyn who were affected by those decisions – by womyn leaving third world countries and migrating to first world countries,” Trey Anthony explains. “There was a history of a lot of Caribbean families, a sister, mother, aunt leaving and I wanted to explore what happened to these families after they reunite. No one talks about the damage being done to these families – to my mother and grandmother’s relationships.” These relationships live at the centre of How Black Mothers Say I Love You. 

beryl-bain-and-ordena-stephens-thompson-in-how-black-mothers-say-i-love-you-joseph-michael-photography

Anthony’s mother left England to live in Canada when Anthony was 9. Anthony and her brother remained behind in England, while her sister travelled to Canada with their mother. “We always had a level of distance. We struggled to connect emotionally,” Anthony says of her relationship with her mother. “And I feel it was because I was left from ages 9-12, during very formative years, that I struggled to develop that relationship. And for my sister, who was never separated from my mother, there is a closeness in their bond that my mother and I were never able to build.” Anthony discusses how her research speaking to daughters of women and women who had left brought about a new healing and a shift in her perception. Her mother became more than just a family member, but a woman who made choices to better herself. “It helped me heal from some of the anger and what I thought I missed out on. It is still a journey and it can trigger me but I am a lot more forgiving of her. The first time my mother saw the piece she broke down crying.”

allison-edwards-crewe-ordena-stephens-thompson-beryl-bain-and-khadijah-roberts-abdullah-in-how-black-mothers-say-i-love-you-joseph-michael-photography

How Black Mothers Say I Love You focuses on three daughters returning home to their mother, Daphne, after receiving news of a ‘devastating diagnosis’. The reunion forces them to confront the past. “The heartbeat of this play is really the story of these women trying to love each other,” Anthony says. The main character, Claudette (played by Khadijah Roberts-Abdullah), is the daughter who was left behind. Anthony says that creating nuance in the character of Claudette and revealing the deep feelings of abandonment behind her bitterness and anger was a challenge. “You see some forgiving and redeeming qualities instead of just a womyn who is angry at her dying mother.” 

allison-edwards-crewe-and-ordena-stephens-thompson-in-how-black-mothers-say-i-love-you-joseph-michael-photography

How Black Mothers Say I Love You has returned to Factory Theatre as part of the 16/17 season for an extended run after the show sold out last May. When asked about how the show has changed this time around, Anthony says: “having the luxury to tweak the various scenes and have some more dramaturgical work, and to have the support of a producing team, has made me able to focus more on the creatives. Having two new actors in the roles [Beryl Bain as Cloe and Khadijah Roberts-Abdullah as Claudette] has helped it have a new dynamic and energy.” Anthony also praises collaborating director Nisha Ahuja for her creativity, specifically noting her work on the transitions and making the piece more movement oriented.

ordena-stephens-thompson-khadijah-roberts-abdullah-and-allison-edwards-crewe-in-how-black-mothers-say-i-love-you-joseph-michael-photography

For Anthony, one of the greatest joys of this piece has been telling a Caribbean-rooted story in a mainstream space and to give voice to those women. “Many people who have seen this play have talked about never seeing their families onstage,” Anthony says. “And for friends who are white, they take it for granted that they can see their lives in some way in any theatre across the city and that is not a luxury that people of colour have.” How Black Mothers Say I Love You speaks across race and class, says Anthony, because at the heart of the piece is a story of a family who is trying to love and is dysfunctional in that love. “As black womyn we don’t get that opportunity to be well-rounded characters with layers,” Anthony says of wanting to focus on black women in black storytelling. “We can be the angry black womyn, or the sassy one, or the one on welfare… I want all of these womyn to go on this roller coaster of emotions and be well faceted, be loving, crying, jealous. So you can see the anger, joy and abandonment […] For me, to hire womyn who look like these womyn onstage and get to be these full characters, that’s groundbreaking and what I want to see.”

beryl-bain-ordena-stephens-thompson-khadijah-roberts-abdullah-and-allison-edwards-crewe-in-how-black-mothers-say-i-love-you-joseph-michael-photography

How Black Mothers Say I Love You

1617_hbmsily_950x200

Who:
A Trey Anthony and Girls in Bow Ties Production
Presented by Factory Theatre
Written by Trey Anthony

What:
A devastating diagnosis brings Daphne’s daughters home where they are forced to confront a traumatic six year separation in their past and their individual quests for love, reconciliation, and forgiveness. How Black Mothers Say I Love You is a poignant and hilarious examination of our desire for truth and understanding from what has been left unsaid. Featuring an original score by Juno Award-winning composer Gavin Bradley and a thought provoking and deeply personal script from ‘da Kink in my Hair creator Trey Anthony, How Black Mothers Say I Love You returns to Factory after being the hottest ticket in town last May.

Where:
Factory Theatre Mainspace
125 Bathurst St.

When: 
February 9 – March 5

Tickets:
factorytheatre.ca

 

“Legacy, Purpose & The Act of Listening” – In Conversation with Tetsuro Shigematsu, playwright and performer of EMPIRE OF THE SON

by Bailey Green

Growing up, Tetsuro Shigematsu and his father Akira Shigematsu did not communicate beyond requests to pass condiments at the dinner table. In the early 90’s in Montreal, Tetsuro approached their distant relationship in a piece called Rising Son. “It was a very small show that very few people saw. But an excerpt of it was played on the radio and that was a sort of catalyst that pulled me out of theatre and into these different career directions,” Tetsuro references the beginning of his career in broadcasting. In the following years, Tetsuro became host of CBC Radio’s The Roundup, fought Vikings on the reality show Deadliest Warrior and worked as a writer for This Hour has 22 Minutes.

When Tetsuro became a father to daughter Mika (13) and son Taizo (9), he began to consider what legacy he would pass on to his own children. “Now that I have kids, [I knew] they were going to start asking questions about who they are and where they came from,” Tetsuro says. “So when my father’s health began to falter, for my kids’ sake I knew it was now or never that I had to ask questions and get his stories.”

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Photo Credit: Raymond Shum

Akira Shigematsu had worked as a broadcaster for the BBC. When Tetsuro placed the microphone in front of Akira, the familiar format unlocked years of silence between father and son. Throughout the interviews, Akira never asked why his son was interviewing him and for what purpose. Near the end of the process, Tetsuro asked his father’s permission to use the material. Without permission, Tetsuro would have no research for his PhD and no material for his show. “I asked him, “Have you ever wondered why I have been interviewing you all this time? Well I would like to share your story.” He was quite mystified because it was so counter-intuitive to him that others might find his story interesting,” Tetsuro says. When Rising Son was being performed, Akira began to tell people that his son made fun of his father’s accent for a living. This was one of the reasons Tetsuro stopped performing the piece and so he wondered about what made Empire of the Son different. “He gave me his permission. He said yes right away. When I asked him why he was ok with it, he said “If you tell my story, my life will have some meaning.” That was a big surprise to me. This process was to find meaning in my own life but this whole endeavour would lend meaning to his.” 

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Photo Credit: Raymond Shum

Tetsuro describes Empire of the Son as a “homecoming for me and my father. Empire of the Son revisits these relationships [seen in Rising Son], but now that I’m a father, it explores my tempestuous relationship with my Japanese Canadian father and his relationship with his father… It spans four generations and the continuum of that.” When Tetsuro was still searching for the form for the show, he heard a quote from a personal hero of his, Robert LePage, about how radio is the most visual of mediums. “I began to think about how I can deepen the experience of listening,” Tetsuro says. “What is it about campfire stories that are so engrossing? Ghost stories are just variations of urban legends, but people become entranced by the rhythm of the dancing flames, or for myself the embers, so I wanted a visual equivalent for a theatre audience.”

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Photos by Raymond Shum

Empire of the Son has several silent sequences with visuals of miniatures projected above Tetsuro. “During the silent parts there is just time for the audience to think about their own memories and experiences – It’s a moment for them to stare into the fire, so to speak. This is a story about a Japanese Canadian father and his Canadian son, but in fact, the uncanny effect that is achieved is an explosion of memories in people’s own minds. They gave me all the credit, when I am just lighting the wick, so to speak.”

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Photo Credit: Raymond Shum

In the fall of 2015, Akira Shigematsu passed away. He died a few weeks before Empire of the Son opened at The Cultch in Vancouver. “When my father died, my whole family was there. My sisters cried and I didn’t. I wanted to investigate that and if I tell stories that are hard for me, I can hopefully break up the ice in my heart and when my father’s funeral comes one day I will be a little bit more complete.” Now, a year later, Tetsuro describes a stronger connection to his father’s memories, “With the passage of time I feel more mindful and present in the moment and open to connecting with my father onstage.”

Photo Credit: Raymond Shum

Photo Credit: Raymond Shum

Taizo and Mika, the fourth generation referenced in the show, have seen Empire of the Son and have “mixed feelings about seeing their lives on stage.” In the play they are referred to as 8 and 12 years old. When they are in the audience, they heckle Tetsuro about their updated ages (9 and 13). “My son points out that compared to other artists I am profoundly uncreative because I use my own life,” Tetsuro laughs. “It’s surreal for an audience because sometimes when the interactions begin they don’t know if it is real or staged and the line between art and life becomes blurry. I’ve made this commitment to not inventing anything, so when my mother or sisters or children attend, I acknowledge their presence either through eye contact or directly speaking to them.”

To artists at the beginning of their careers, Tetsuro encourages them to be prepared for a life of uncertainty. “If you can deal with that, it’ll be ok. If being creative and making art is something that truly makes you happy, then focus on those internal values and you’ll maintain a sense of integrity or wholeness about what you believe in.”

EMPIRE OF THE SON

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Who:
Written by Tetsuro Shigematsu | Directed by Richard Wolfe
Starring Tetsuro Shigematsu
Set design by Pam Johnson | Costume design by Barbara Clayden
Lighting design by Gerald King | Sound design by Steve Charles
Documentary audio by Yoshiko & Akira Shigematsu
Produced by Donna Yamamoto
A Vancouver Asian Canadian Theatre Production

What:
From the ashes of Hiroshima to swinging 1960s London, EMPIRE OF THE SON tells the dynamic story of Shigematsu and his emotionally distant and stoic father, Akira, also a former public broadcaster. A compelling father and son story, EMPIRE OF THE SON is also the story of three generations of a Japanese family separated by language, culture and history.

Told through a blend of dramatic storytelling, family video footage, archival audio from Akira’s CBC interviews, recordings of phone calls between father and son, and intriguing miniature worlds projected on a screen, EMPIRE OF THE SON is a deeply thoughtful portrayal of parent/child relationships.

Where:

Factory Studio Theatre, 125 Bathurst Street

When:
January 18 – 29, 2017
Tuesday – Saturday @ 8pm, Sunday @ 2pm, Saturday, January 28 @ 2pm & 8pm

Tickets:
Ticket prices range from $25-$35
Student, Arts Worker and Senior Prices also available
In Person: Factory, 125 Bathurst Street,
Online: factorytheatre.ca
By Phone: 416.504.9971

Connect:
@tweetsuro
@FactoryToronto • FB/FactoryTheatreTO/
@vact FB/vact1  www.vact.ca
#beyond1617 #empireoftheson