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Nov 6

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On Our Radar TO: Get Stoked for Theatre this November!

Why is theatre relevant? Whether it allows you to re-connect with your inner child, be exposed to a new perspective, challenges your pre-conceptions or allows you to let your guard down, whether you’re looking for a sexy night out, a night to sing and dance with childish glee without feeling out of place, or simply looking to be entertained and connect with those around you through classic love stories and a beer in hand, these productions are On Our Radar, Toronto, and we think you should get stoked for theatre this November!

Savage in Limbo

Written by John Patrick Shanley, presented by Bob Kills Theatre

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With a newly extended run, we’ve heard nothing but exciting things about this production. Bold, brave work, exciting use of a new venue to the Toronto scene (The Downstage), and some incredible talent that must be noted!

“John Patrick Shanley is an Oscar, Tony and Pulitzer prize-winning writer of stage and screen. He is best known for the 1988 film Moonstruck, and the 2004 play Doubt, which was also adapted into an Oscar-nominated film in 2008.

Bob Kills Theatre is an experience in visceral theatre. Founded by Melissa D’Agostino and Diana Bentley, the company strives to present unique, often surreal, texts in interesting venues. With an emphasis on bold stories and the virtuosity of performance, Bob Kills Theatre aims to challenge, engage, entertain and instigate.”

Various 32-year olds seek love, sex and a way out of their dead-end lives.

Where: The Downstage, 798 Danforth

When: **Extended Run** October 22nd – Thursday November 7th 8pm.

Tickets: $20 savageintoronto.com

The Double

A TheatreRUN production presented by Tarragon Theatre

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Adapted from the novella by Dostoevsky, created and performed by Adam Paolozza, Arif Mirabdolbaghi and Viktor Lukawski, we’ve heard this production described as hilarious, whimsical, psychologically complex, haunting and magical. If that doesn’t catch your interest, maybe this delightful trailer will. Catch this gem of a remount before it closes!

“When are you no longer yourself? The anxious government clerk Golyadkin is plagued by a stranger who looks just like him but is more daring, romantic and brash. Inspired by Dostoevsky’s novella The Double, this theatrical triangle between a neurotic, his doppelganger and a stand-up bass transports us to 19th century Russian high society and Golyadkin’s labyrinthine search for his identity.

After a hit independent run last season that saw a Dora Award win for lighting design, Tarragon warmly welcomes this dark satire about our deepest fears of losing our identity.”

Where: Tarragon Theatre Extraspace

When: October 15th-November 24th

Tickets: 416-531-1827 Tarragon Box Office

Dirty Butterfly

Written by Debbie Tucker Green, presented by Bound To Create Theatre as part of Obsidian Theatre’s 2013/14 Presentation Series

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If there is one production we have been excited about for its first professional Canadian Theatre debut, it’s Bound to Create Theatre’s production of Dirty Butterfly as part of Obsidian Theatre’s 2013/14 presentation series. Since its first run at the 2012 Toronto Fringe Festival, we’ve heard nothing but incredible things of this arresting play by British playwright Debbie Tucker Green and after seeing its opening, this hypnotic play is not to be missed!

“This drama explores voyeurism, power and guilt by confronting the collateral damage of domestic abuse and racial economic divide.”

Where: Aki Studio Theatre, 585 Dundas E.

When: Previews Oct. 30-31st, Opens November 1st and runs to November 17th. Tues-Sat 8pm, Sun 2pm

Tickets: $20-$25 Preview 15$, November 10th PWYC. www.boundtocreate.com

Moss Park

Written by George F. Walker, presented by Green Thumb Theatre/Theatre Passe Muraille

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There’s a new George F. Walker in town and with some pretty incredible young Canadian talent as its leads, local talent Haley McGee and Vancouver native Graeme McComb, and we’re into it!

“Moss Park is an intimate look at two young people as they confront an uncertain future.  In this follow up to Tough!, George F. Walker takes Bobby and Tina on a journey as they fight to map a life that doesn’t include poverty.”

Where: Theatre Passe Muraille, 16 Ryerson

When: Previews Runs November 5th-16th, Tues-Sat 7:30pm, Mat Sat 2pm.

Tickets: $15-$32.50, Matinee PWYC, 416-504-7529, passemuraille.on.ca.

Alligator Pie

Featuring poetry by Dennis Lee, presented by Soulpepper

Soulpepper's Alligator Pie in rehearsal, Raquel Duffy, Mike Ross, Gregory Prest. Photo Credit: Nathan Kelly

This needed a remount in the most heart-felt way. We saw this last fall and what a treat it was to watch this talented group of artists weave the children’s poems of Dennis Lee together with heart, humour and glee-inducing creativity. This family-friendly production is definitely enjoyable for all ages on so many levels as it celebrates imagination and invention.

Where: Young Centre for the Performing Arts, 50 Tank House Lane
When: Opens November 3rd and runs to December 1st
Tickets: $23, Rush $5-$22 416-866-8666, www.soulpepper.ca

Romeo and Juliet

Written by William Shakespeare, presented by Shakespeare BASH’d

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If you know anything about Shakespeare BASH’d it’s the long line-up of Fringe hopefuls trying to snag the last few tickets at the door of their two sold-out Fringe hits with both their 2012 production of Taming of the Shrew and Much Ado About Nothing this past Summer at the Victory Café. If you managed to get your tickets early, then you got to see what all of the hype was about – a clean, story-focused Shakespeare, chalk-full of boisterous local talent, all of which you could enjoy with a drink in hand. Well BASH’d is about to present their first tragedy outside of the Fringe circuit and bring us to the incredible 3030 Dundas West in the Junction, inviting us to grab a beer (perhaps from one of the 3030’s many local craft beer selections) and reconnect with Shakespeare’s greatest story of original young love-at-first-sight.

Where: 3030 Dundas West in the Junction

When: November 19th-23rd Tuesday-Friday 7:30pm, Closing Saturday at 4pm

Tickets: $16-$21 with advanced purchase highly recommended* http://www.shakespearebashd.com/tickets.html

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Mature Young Adults

By Wesley J. Colford, presented by Aim for the Tangent

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We had the pleasure of catching this gem at the Atlantic Fringe Festival on a visit to Halifax this September and we’re very interested to see it in its next stage of development in Toronto at the intimate Videofag space. Andrea Nemetz from the Chronicle Herald expresses our thoughts on Mature Young Adults perfectly: “Everyone has been a teenager in love, or will be. …an astonishingly real look at that most complicated of emotions.”

“This tragi-comic love story continues the theatrical tradition of East Coast playwriting greats David French and Daniel MacIvor with a contemporary twist for the Facebook generation. In a world where labels and gossip fly through cyberspace like lightning, is it possible to love without giving up your identity? Can you escape the container your community places you in?”

Where: Videofag, 187 Augusta Ave.

When: November 20th-24th: 19th-22nd 8pm, 23rd & 24th 4pm & 8pm

Tickets: $15 at the door. Advance tickets available through T.O. Tix www.totix.ca

After Miss Julie

Written by Patrick Marber, presented by Red One Theatre Collective

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If you are looking for a crazy, sexy performance to spice up your life as the temperatures drop… we’re looking to After Miss Julie presented by Red One Theatre Collective. After Miss Julie is a version of Strindberg’s Miss Julie by Patrick Marber, where Marber amps up the power play between Julie, John, and his fiancée Christine to a deliciously dangerous level. The result, a steamy and at times manic and even hilarious power play amongst the class structure of 1945 England. With David Ferry as the director and a cast of some exceptional young local talent (Claire Armstrong, Christopher Morris and Amy Keating), we can’t wait to see what Red One brings to the Storefront this November.

Where: The Storefront Theatre, 955 Bloor Street West

When: November 15th-30th (Preview November 14th) Tuesday-Saturday 8pm, Sundays 2pm

Tickets: $20/ Tuesdays $10/ $15 Preview)

The Sacrifice Zone

Written by Suzie Miller, presented by Theatre Gargantua

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If you’ve never been to a Gargantua performance, now is your chance to catch their world premiere of their 10th cycle of work The Sacrifice Zone. Created through their unique process, Theatre Gargantua is artist driven and works as a creative ensemble, producing projects in two-year cycles. We’re overflowing with excitement to see their latest creation, blending physical theatre, vocal soundscapes and unique storytelling and staging and we think you should be too!

“An industrial explosion shatters lives in an isolated resource town, rocking the balance of the community. While Alex and Hannah struggle with the loss of their partners, Laura and Patrick renegotiate the boundaries of a love affair, and newcomer Elly watches the emotional landscape change as arrestingly as the physical environment does. When everything is at stake, what would you sacrifice to make things right?

The Sacrifice Zone cuts right to fundamental questions of who and what are our responsibilities? And is balance, indeed justice, ever possible? Gargantua explores real world issues of individual, corporate and environmental accountability through their signature physical and critically acclaimed contemporary visual style in this gripping production based on a script by celebrated Australian playwright Suzie Miller.”

Where: Factory Studio Theatre
When: November 13th-30th Wednesday-Saturday 8pm, Saturday November 16th & November 20th 2pm.
Tickets: $19-$25, Buy tickets at www.factorytheatre.ca 

The Gay Heritage Project

Created and performed by Damien Atkins, Paul Dunn & Andrew Kushnir, presented by The GHP Collective in association with Buddies in Bad Times Theatre

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We just caught a glimpse of this promo video, and we can’t wait to catch it mid-November! A collaboration between acclaimed theatre makers Damien Atkins, Paul Dunn, and Andrew Kushnir, The Gay Heritage Project offers audiences a unique chance to discover, celebrate and connect to our queer heritage. Once again, Buddies in Bad Times provides Toronto with relevant, thought-provoking, socially-conscious theatre.

“Three of our country’s most gifted creator/performers set out to answer one question: is there such a thing as gay heritage? In their search, they uncover a rich history not often shared and shine new light on contemporary gay culture. The result is a hilarious and moving homage to the people who came before us and the events that continue to shape our lives.”

Where: Buddies in Bad Times Theatre, 12 Alexander Street, near Yonge & College

When: November 17th-December 8th, Tuesday-Saturday 8pm, Saturday & Sunday 2:30pm, Preview Performances 8pm

Tickets: $20-$37

Know something that should be On Our Radar, Toronto? Connect with us through Twitter & Facebook using the hashtag #OnOurRadarTO or send us an email to inthegreenroom.ca@gmail.com. What’s on your Radar? 

Jul 31

Theatre of the Absurd, Indeed – A Conversation with Bobby Del Rio on “The Trial of Ken Gass”

Interview by Bailey Green

I spoke with Bobby Del Rio about his new play The Trial of Ken Gass currently in the midst of its run at Sterling Studio Theatre. We talked capitalism, casting, Jess Salgueiro and of course, Ken Gass.

BG: Something so unique about this show is that there’s a different actor playing Ken Gass every night – how did you get all of these actors involved?

BDR: Well, I originally tried to get one Ken Gass. I offered it to several actors but I just couldn’t get them to commit to a full run. Peter Keleghan was my first choice, but he was doing a documentary for CBC so he didn’t have the time. Two weeks away from the show I still didn’t have someone so I called Jack Grinhouse cause I think I’m fucked. It was Jack who suggested that maybe I could get different people to do different shows, which wasn’t far from my first idea of having actors do two or three shows each. This idea of different people enabled flexibility. The flexibility to have people other than older white men come play Ken Gass. A lot of great actors like Diane Flacks, Dinesh Sachdev and Huse Madhavji from Saving Hope could get involved. It really opened up the play and the production.

So I asked Peter if he would play Ken Gass on opening night and he said absolutely. After I got Peter I was able to approach almost anyone: Tom McCamus, Rick Mercer, Daniel Brooks… They said they would love to do it but it was a lot of scheduling things that got in the way. But I got amazing people like Art Hindle and Diane Flacks. Once I got Peter, once you get the first domino, everything falls into place.

BG: Since you didn’t really have a rehearsal period, how did Jess Salgueiro (who plays Sarah Bright) cope with creating her character when she would be acting with a new Ken every night?

BDR: Another question not a lot of people have asked. It’s funny, Ken Gass in real life got the head line because he was the name for the news story when it all happened and then the production pretty much focuses on the casting of…Ken Gass. But Jess Salgueiro is the star of the show. We only had three rehearsals of about three hours each and a tech. She did so much work on her own. I played Ken Gass in rehearsal and I would purposely do it differently every time. I was helping her get off book and at the same time not just attacking or trying tactics differently but playing with weird blocking, like things no one would expect for you to do. I’m glad we did that because…well for example Diane Flacks did whatever she wanted to do, in an amazing way! I mean I love her; she is so free with her body. In her cold read she just owned it. So physically free and alive she would run around and dance. It was a turning point for the run too because after that Jess was so free.

Jess Salgueiro plays Sarah Bright in The Trial of Ken Gass

Jess Salgueiro plays Sarah Bright in The Trial of Ken Gass

[In rehearsal] we focused beyond her text and tactics. In order to establish consistency of performance we established what her character truly wants. Beats may change performance to performance but her super-objective didn’t change nor did the secret parts of her character Jess knew about. Secrets pockets of anger and rage that she can draw on. We knew exactly who this character was so this character could encounter any other character.

We did an improv where I went on several blind dates with her. And I was a different guy each time but she was still her character. I think it helped prepare her. Evidently, she didn’t need it. She’s fantastic. I’m the only person who has seen every show and she finds a way to hit the same beats and fight for the same objective with people throwing completely different tactics at her. She finds a way to get there. It’s quite amazing.

BG: Where or when did the inspiration for this play come from? Was it during all the chaos or afterward?

BDR: Before the Factory Theatre controversy I had this title in my head, “The Trial of Ken Gass.” I had a sort of long standing relationship with Factory; I had been developed numerous times at Factory over the year and had readings and units with them. I acted in a play called Tide Line in 2005. So I got to know Ken over the years. Ken is a brilliant artist and true visionary and because of this is a pretty controversial guy. I don’t mean that in a negative way, in Canada sometimes anyone who speaks the truth is called controversial. He’s an interesting dude, quirky, when he walks in the room you know he’s there. So I had wanted to write about Ken Gass for years because of this idea about gleaning his character.

I found out he was fired on Twitter. It was the first time I found out something major in my life on Twitter. I think it was Bridget MacIntosh who first tweeted it. All of a sudden everybody within the theatre community was posting on Facebook and tweeting at each other. Fun piece of trivia, I was the first person to post on Ken’s Facebook wall when he was fired. I don’t think it means anything but still it’s interesting. He’d gotten fired and his wall was completely blank. What do you say, right? At the time we didn’t know yet what had actually happened so I wrote something like “I’m not sure what’s happening but I wish you the best of luck”.

The theatre community did all this investigative reporting, extrapolation and innuendo. It became clearer what happened. Then (I always think I’m busy but maybe I’m not) I read three hundred pages of blogs, newspaper articles, the comments on the articles, Facebook pages, literally read every single thing, every name on the petition and what they wrote. It became very hostile. There were decisions made. Flame wars, series of mini dramas that exploded across Facebook. It got so crazy. No one would give me a straight answer.

BG: Is this what made you choose to write an absurdist play?

BDR: Theatre of the Absurd would be the perfect way to identify with the way it all happened – this amazing cesspool of drama. So when I found out I was a finalist in a playwriting competition at Sterling Studio Theatre I asked for Ken’s permission. I’ll never forget what he said, “Theatre of absurd, indeed.” I’d never written absurdism. I wrote a play that became a film called The Market (like Glengarry Glen Ross meets Reservoir Dogs which I had never written about before) about four bond traitors. So I used the content to mirror the form. Genre expressed the ideals of the story and the same thing happened with The Trial of Ken Gass. And the truth of it is there was no resolution. It was the ultimate anti climax. So why did we all experience this as a community if there was not going to be a resolution? Part of writing this play is the quest for that.

BG: You say The Trial of Ken Gass is the plight of every artist. How have you experienced this?

BDR: Partly the frustration in dealing with all levels of bureaucracy and institutions my entire life. Before Erindale I was an economics student. I noticed that I hadn’t attended calculus for months but I was ten minutes early for rehearsal.  I was a Sarah Bright, the institutionalized capitalist but then I became an artist. I realized all my friends, my whole world, was capitalism. All artists can relate to this, like having a conversation with a bank manager about how much money you make year to year. This play and Ken Gass channel the difficulty to persist and subsist in the capitalist hierarchy.

Every day as an artist is a challenge in this society that is so consumerist and fact-based.

You know, I went into this thinking that it could be the biggest failure of my career. I mean, it’s weird! A different Gass every night? I had people tip me off (in the theatre community) that there were people very angry with me for writing this play “so soon”. So I knew I may be offending some people by doing this but I’m going to do it anyway! And why not? I’ve met some great people.

So take risks.

The Trial of Ken Gass

Written & Directed by Bobby Del Rio

When: July 23rd, 2013 – Aug 3rd, 2013
Where: Sterling Studio Theatre, 163 Sterling Road
Tickets: $10 & PWYC Sundays
More information is available at www.sterlingstudiotheatre.com

Peter Keleghan (Made in Canada, The Newsroom, 18 to Life) played Ken Gass opening night.

Every night, a new actor plays Ken Gass including: Diane Flacks, Art Hindle, Pat Thornton, Julian DeZotti, Kyle McDonald, David Macniven, Dave Sparrow, Greg Dunham and DineshSachdev. Jess Salgueiro plays SARAH BRIGHT every night!

Apr 19

New Theatre Listings

Feel like seeing some theatre? Check out what Toronto has to offer in our Listings.

Feb 13

Review: The Double

By: Barry Chong

Adam Poalozza’s rendition of Dostoyevsky’s The Double is a frenetic production punctuated by technical bravura and charming original music. Despite its allegiance to the towering source material (much of the dialogue is quoted verbatim), the play is full of bravely self-conscious humour, and even acknowledges its own nervous reverence of Dostoyevsky himself. But like the novella that inspired it, the theatrical Double’s brilliance lies in its ability to juggle humour with an inescapable thematic undertow of paranoia and terror.

Read more in Reviews 

Jan 10

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10 Toronto Theatre Things to Look Forward to in 2012

By: Alex Johnson

Kim’s Convenience by Ins Choi at Soulpepper

I missed this Best New Play winner at Fringe last summer, and regretted it. I’ve always been a quiet admirer of Ins Choi (a Soulpepper Academy alumnus and an actor who manages to find why those peripheral parts are in the script, and elevate them from walk-on role to scene-stealer). At first it seems out of step that Soulpepper would add a Fringe winner to their docket of “important” and “time-tested” classics. But the Soulpepper website calls Kim’s Convenience a “Toronto classic in the making.” Props to Soulpepper for recognizing and nurturing a more localized “classic” and props to Ins Choi for writing it. It makes for a hell of a good underdog story.

Kim’s Convenience plays January 12th – February 11th at the Yonge Centre for the Performing Arts. More information available at  http://www.soulpepper.ca or  http://kimsconvenience.com/the-play/.

Queen of Puddings Music Theatre Presents Beckett: Feck It! at Canadian Stage

Illustration by Marilyn Koop

The title notwithstanding, I am surprised to find myself so excited about this show. I am not a Beckett fan, so the idea of sitting through a Beckett-themed musical evening shouldn’t sit right with me. However, I can’t help thinking that if anything can shed some light on Beckett, and possibly change my mind about him, it’s going to be the combined energies of Laura Condlln, Jennifer Tarver, Tom Rooney and a smattering of contemporary Irish composers. And who am I kidding…the title kind of clinches it. Maybe Canadian Stage will hand out more of those slightly naughty buttons like they did at Krapp’s Last Tape.

Beckett: Feck It! Plays February 17th – 25th at the Berkeley Street Theatre Downstairs. For more information http://www.queenofpuddingsmusictheatre.com/index.php/productions/beckett-feck-it  or  http://www.canadianstage.com

Arts cuts by City Hall

It hurts our wallets, our functionality, our sense of protection and calm. But historically, Toronto always produces incredible work when our funding gets axed. The community bands together and breaks new ground, flipping a well-crafted bird to the higher-ups. Look at what happened with Summerworks in 2011. I, for one, would wish away the budget cuts if I could, but intend on embracing them when they come. Strange as it is, I look forward to seeing what remarkable things happen when we get put inside the pressure cooker.

I probably wouldn’t be so doe-eyed about it if I had the job responsibilities of Matthew Jocelyn….

Penny Plain by Ronnie Burkett at Factory Theatre

I can’t stress enough how everyone should see the work of The Ronnie Burkett Theatre of Marionettes. It ain’t for kids, though it might make you feel like one. I dare even the hardest, crustiest cynics to not be blissfully caught off guard. Seriously. If you’re totally unaffected, send me your address and I’ll mail you a Radiohead album. I’ll assume that’s what you listen to…

Penny Plain plays January 20th – February 26th at the Factory Theatre Mainspace. For ticket information (and a great video interview with Ronnie Burkett) check out  http://www.factorytheatre.ca/concrete/concrete/index.php/season-and-subscription/penny-plain/.  

Closer by Patrick Marber, Mnemonic Theatre Productions

This play made the list because I see it as a diamond in the rough. The cast is relatively unknown, the director is new on the scene; but going to this production will give you the thrill of feeling that you’ve discovered something special and substantial before anyone else has – like how I felt when I got the first Arcade Fire album weeks before it aired on Much Music. I would be very surprised if these young, up-and-coming artists weren’t on many more “Top” lists in the years to come. Not to mention, the play is infinitely better than the film – as is often the case – so exorcise Julia Roberts from your brain and go check out the real deal.

Closer plays February 1st-4th at the Winchester Theatre in Cabbagetown. For more information visit   www.mnemonictheatre.com/closer

The new “Theatre trailer” and online promotions

I get sick kicks out of sitting down on YouTube and searching for trailers and promotional videos for theatrical productions. I’ve seen some bombs, and I’ve seen some goodies (anyone remember the Jersey Shore transcripts done in the style of Oscar Wilde that promoted The Importance of Being Earnest on Broadway?). It’s interesting to see the creative ways in which people build interest for a live medium through a recorded medium, and I think that with each passing year we are going to see that creativity produce some pretty spectacular efforts. Who will have the most effective, ludicrous, sensational promotional video of 2012?

If you haven’t seen the Earnest Playbill promotions, just YouTube “jersey shore oscar wilde”. And enjoy.

The Year of the Playwright?

Is it? Maybe? Fingers crossed. I can only hope that we are moving into a revamped era where people aren’t just writing great Canadian plays, but they are being produced, watched, and taken seriously. I think that voices like Hannah Moscovitch and Anunsee Roy are showing us that the appetite for new plays is there, and following their example, more young artists are going out on a playwright’s limb. I think that very soon, the playwright will once again be a commanding force of a nature in Canadian theatre (I leave that to better people than I). 2012 is only going to bring us one step closer to that.

There are tons of great writing and creation workshops out there, so keep your ear to the ground. I’ll keep you posted through Inthegreenroom.ca as they pop up.

The Neverending Story at Toronto’s Theatre for Young People

As if this needs any explanation. If you were born in the eighties, raised in the 90s, had even a smidge of a child’s imagination, and owned a VCR…this is a big moment in Canadian theatre for you. Atreyu and Bastian and the Childlike Empress on stage together? Live?? In the flesh?? I might have to knock me down some toddlers to get to the front row. All’s fair in Fantastica, the Land of Stories.

The Neverending Story plays February 27th-March 17th at Young People’s Theatre (it was never the Lorraine Kimsa to me!) For more information, check out  http://youngpeoplestheatre.ca/en/current/theneverendingstory.cfm. There are cheapie tickets, too!

Groundling Theatre Company

Sometimes I think that every six days there is a Shakespearean start-up venture in Toronto (God knows I’ve been a part of my share). His work is like actor crack: sexy, high-stakes, showy, language that is almost edible. Everyone has an opinion on Shakespeare, and everyone wants to put their stamp on the canon. But when I heard about Groundling Theatre Company, a new Shakespeare company founded by Graham Abbey….well, I think it’s good news for all of us. Abbey knows what he is doing. He has been wrestling with the great roles and the great plays his entire career, has been mentored by the very best, and remains a staple of classical theatre in Canada. We need good Shakespeare, and I’m pleased as punch that he is helping an initiative to do just that. Although their first production isn’t slated until 2013, keep your ears clean and your eyes open and you may hear tell of something. Abbey will also be returning to Stratford for the Festival’s 2012 season. It’s a quick drive for a big treat!

For more information, you can look at their website, groundlingtheatre.com.

The Tennessee Williams Project

Something is a-brewing in the Toronto theatre scene; something built off a love for Toronto, a need for community, a sense of artistic curiosity, and a hot and heavy love of Tennessee. The details are in the works, but we at Inthegreenroom.ca will keep you posted.

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