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Posts tagged ‘Romeo and Juliet’

In Conversation with Carly Chamberlain & Susan Bond of Hart House Theatre’s “Goodnight Desdemona (Good Morning Juliet)”

Interview by Ryan Quinn

RQ: Hello! So I’m here with Carly Chamberlain, director, and Susan Bond, dramaturge, of Hart House Theatre’s production of Ann-Marie MacDonald’s Goodnight Desdemona (Good Morning Juliet). Tell me a bit about the show? 

CC: Essentially, it centres around a women who is an overlooked, often taken-advatage-of academic who is working on her thesis and she has a theory about some of Shakespeare’s plays that nobody believes in. That’s sort of the setup.

SB: So she’s come to a crisis about her work and her treatment in this academic model that she’s working through.

CC: In a larger sense, it’s her crisis of identity in general. So that’s the crisis, then she falls in a garbage can… as you do. There’s a magical element to the play where a choral moment initiates her falling into a garbage can, and falling into her subconscious, which takes form as a Shakespearean-like world.

SB: Right, she falls into a very specific Shakespearean world, as you could guess from the title. She falls into the worlds of Othello and Romeo and Juliet.

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Photo Credit: Scott Gorman. (LtoR) – Nathan Bitton as Romeo, Lesley Robertson as Constance, Katie Ribout as Juliet

CC: She meets two of her heroines, and it’s a journey set around finding her way out and solving her thesis question, but it’s really about meeting the so-called “real” versions of them and also finding her own identity. It’s really a journey of self-discovery, especially since it’s her subconscious, they’re all elements of her.

SB: At the same time, she’s helping solve their problems of mortality.

CC: She’s searching for her real identity by assisting them.

SB: I think it’s also worth mentioning for people who aren’t already familiar with the play and perhaps not familiar with the fact that Ann-Marie MacDonald is Canadian, and that she is a struggling academic at Queen’s University in Kingston.

CC: That being said, I think it’s important to note that while the play is very clever, and it references a lot of Shakespeare, I don’t think you have to be intimately familiar with the plays to enjoy it. It’s a human story of loving yourself.

SB: You’ll certainly get more out of it if you’re familiar with those two plays and the rest of Shakespeare’s work. You’ll see more of the layers in it if you do, but it’s not essential.

RQ: There’s a few things I want to touch on there. Constance is very much a modern protagonist. She’s an iconic character of Canadian theatre. Is there a calling for more strong, modern female protagonists?

CC: Yes! But I don’t think “strong” is the right word to describe her, necessarily. She has strength and she discovers her strength, but I think what makes her a good example of a female character in Canadian theatre is that she’s complex.

SB: Most of her problems aren’t “woman problems”. She has career problems and self-discovery problems, which are things that everyone has. She’s an important female character in that she’s a great role for female actors because she’s also more complex.

CC: The whole thing is about her finding her strength, but there’s a problem with the writing of female characters in general where if they aren’t someone’s girlfriend or wife or talking about their romances, the other extreme is that they’re superheroes; which is another sexualized, objectified version of a woman, as well.

RQ: So it looks at the concept of strength beyond the male-centric idea of what a strong woman looks like.

CC: Yeah. I think there’s something to it even beyond a male-centric idea. I mean, patriarchy is everywhere, so we’re all viewing through those goggles, but what’s really special to me about this play (and part of it is that you view whatever you’re working on through whatever you’re processing yourself) is that it’s not about male or female but about saying, “Hey, things are complicated, nothing’s black and white, and the mess of life is okay, and I’m still awesome even if I’m a mess”. That’s something we all need to readjust to as far as what strength is.

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Photo Credit: Scott Gorman. (LtoR) – Cydney Penner as Desdemona , Nathan Bitton as Iago, Lesley Robertson as Constance

SB: “You shouldn’t need to be above the mess. Strength is living in the mess and working through it.”

CC: But yes, to come back to the question, I do think there’s a real lack of complex female roles in film and TV, obviously in classical theatre, but also in Canadian theatre. We spoke about finding other Canadian plays with complex women in them and it’s actually a struggle.

RQ: In pop culture in general. In the zeitgeist, there are very few of them.

CC: Yeah, and then, when there is, it’s a big thing. Look at the reaction to HBO’s Girls.

RQ: Because there’s that thing where people look at it and say “But these characters are kind of shitty sometimes. How are they supposed to be female role models?”

CC: I read a really interesting article recently that compared Hannah from Girls to Llewyn Davis from Inside Llewyn Davis, and it was showing that that’s a perfect example of the flaws in innate sexism. We look at Llewyn Davis and we’re like, “Man, he’s fucked up. He’s talented, but he’s fucked up and he makes fucked up decisions. He’s a tragic hero,” but with Hannah we’re like “You’re a brat. Get over yourself”. I would argue that the Coen Brothers do romanticize Llewyn Davis more than Lena Dunham romanticizes her character, but it’s the same thing, she’s a self-indulgent, talented person and so is he, but she is the one who gets ragged on.

SB: Also, I think that because there’s a relative dearth of complex female characters like that, she winds up standing in for not just self-indulgent talented people but also “ladies”, or “girls” in general. That’s just a problem of underrepresentation.

CC: Since there’s a lack in general, every female character has to live up to the standard of not being any stereotype, which is pretty impossible.

RQ: As soon as someone becomes iconic in that sense, they have to be everything to everyone all the time.

CC: Exactly, which is impossible. But, as much as I’m all about more roles for women, I don’t think anyone that champions that wants to watch plays about perfect people, because why would you watch it?

RQ: So what you’re talking about is that female characters are allowed to have conflict. They don’t have to be the side character but they also don’t have to be above all conflict and completely inscrutable.

CC: Essentially.

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Photo Credit: Scott Gorman. (LtoR) – Katie Ribout as Juliet, Lesley Robertson as Constance, Cydney Penner as Desdemona

RQ: So, Susan, as a dramaturge, there are several different worlds in this play. How do you go about investigating the different worlds and how they interconnect?

SB: My speciality as a dramaturge is working with Shakespeare, so the knowledge I bring to the table at a production is going to be actually stronger than the Canadian academic world, despite being a Canadian graduate student, though not in the 80’s. You referred to Constance as a “modern” female character, but she’s not actually that modern, she’s set in the 1980’s and it’s surprising how much that world lives in the play. Because we’re not actually in Verona or Cyprus, we’re in Constance’s imagination, it’s amazing how her world kind of emerges in them in strange ways.

CC: And we’re definitely trying to highlight that. I think sometimes people go for an interpretation where we’re actually there in stereotype-land. Our set doesn’t change, other than through light and sound, and that’s on purpose. The office is onstage the whole time. Something we talked about from the very beginning is the idea that she’s in “Cyprus”, not Cyprus. Because of that, the dramaturgy becomes complex. The first step is saying “this is what it was in the original play”, and making a conscious choice if it’s going to be different.

SB: “This is what the coastline in Cyprus was. These are the places it would be appropriate for Desdemona to be. This is where a historical Desdemona would be. This is where Shakespeare’s Desdemona would be.” But, MacDonald’s Desdemona is in a different place altogether.

CC: The layers of references in the play are astounding. For example, there are a lot of references to alchemy; but there’s a difference between Renaissance alchemy, which is transmuting base metals to gold; but there’s a very intentional layer on top which is Jung’s idea that they were being metaphorical and alchemy is actually about self-actualization. So, all that stuff is layered in.

SB: There’s a lot of dramaturgy in this show.

RQ: And all the layers inform each other, right?

CC: Yup, real easy, super easy.

SB: Yeah, I just know what the words mean.

CC: But that’s something about Shakespearean dramaturgy in general, is that the actors or I might have a question about what some little thing means and we might find out it’s a reference to some obscure thing.

SB: Like the Gustav manuscript. It’s an 18th Century German novel about someone searching for a manuscript that was lost, so in a way, it sets up the premise for Constance’s entire academic career.

CC: Yeah, then you go, “This is all interesting, but to the character, it means nothing”. You don’t know these things, it’s outside of the world.

SB: But then some elements are conscious references, so it all ties into itself.

RQ: And how has it been working with Hart House on this show?

CC: It’s good. We both have histories with them, though Susan’s is longer.

SB: I’m the Resident Dramaturge.

RQ: How did you start there?

SB: I started as a dramaturge for Canopy Theatre, which is associated with Hart House and so I worked with Jeremy [Hutton], when he was acting in a show I was dramaturge for, and he saw what I brought to the table.

CC: When I was an actor, earlier in my career, I was in Julius Caesar and A Midsummer Night’s Dream at Hart House. So I had a bit of a relationship with them, then Jeremy and I worked together at Shakespeare By the Sea as well, and we had a good working relationship. And I assistant-directed there last year for Robin Hood: The Musical, which is another Hart House/Shakespeare by the Sea crossover. It’s been pretty awesome working with them. As far as the management goes, they’re very supportive and trusting.

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Photo Credit: Scott Gorman. (LtoR) Lesley Robertson as Constance, Nicholas Porteous as Professor Claude Knight

RQ: What would you say your goals are this year?

CC: In life?

RQ: In life!

SB: In 2014?

RQ: In 2014!

CC: I think for me, it’s two things. On the one hand, I’m still trying to figure out what directing means and how to be good at it in a thoughtful way. I want to continue to develop because you can only learn it by doing. On the other hand, Susan and I work together separately [with Neoteny theatre] and I think we both want to make a positive and significant contribution to the theatre scene, particularly as it relates to classical-adjacent work and roles for women, so this falls right in line with that. We want to be thoughtful instead of making work for work’s sake. That’s really hard because we all want to be working all the time. When we did Overruled and Romance last year, it went really well and people wanted to know what we were doing next, but we’re trying to resist the urge to just do something for its own sake. You know, “put on a show and put my friends in it”, because that’s tempting.

RQ: Vanity project theatre.

CC: Right, and that’s such a murky area because to some degree, everything you do is a vanity project because even if you’re getting paid, you’re not getting as much as you should, so you have to be getting something else out of it. I think that sums it up nicely.

SB: Yeah! I think we’re trying to reconcile the intersection of classical work with women’s roles in general. A, let’s just say it, feminist model, to some extent.

CC: I think what we’re dancing around is that we’re interested in feminist work that’s not feminist for its own sake, but feminist for that basic definition of equal rights for all people. It’s one of those things that once you start seeing things through that lens, and you’re a creator of any kind, you have a responsibility to make sure that work continues. That being said, we’re not entirely humourless. So that, plus joy in the work. That’s the other thing with me directing is that I’m trying to find that line where everything is falling into place, but that sense of play and joy and ensemble is there too. That’s really important, as an audience member. I want to find that balance where they’re in an environment where they can live in the moment.

SB: If there’s no play in the play, then it’s entirely joyless.

RQ: It’s moral responsibility theatre, which can be pretty boring.

CC: I think about this stuff all the time because I’m kind of a cynical person and when people say things like “Oh, when this show closes, I’m going to miss this cast so much!”, I’m the one that’s like “You’re doing a job”. Navigating the line where there’s a sense of joy in the ensemble and the bond you form with the other members comes from working toward the same goal, that’s huge and important. All the other stuff, drinking together and whatever, that’s cool if you have that social vibe, but the vibe in the room is so much more exciting and important.

Goodnight Desdemona (Good Morning Juliet)

By Ann-Marie MacDonald, presented by Hart House Theatre

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Where: Hart House Theatre, University of Toronto, 7 Hart House Circle
When: February 28th – March 8th, 2014 8pm, Saturday Matinee 2pm
Tickets: $15-$28 http://uofttix.ca/view.php?id=1000

For more information on the show: http://www.harthousetheatre.ca/

Artist Profile: Kelly Penner and Hallie Seline – Reconnecting with the Classic Tale of Love-at-First-Sight as the Title Roles in Shakespeare BASH’d Romeo and Juliet, November 19th-23rd

Interview by: Brittany Kay

We sat down with the smart and sexy duet, Hallie Seline and Kelly Penner, who play the title roles inShakespeare BASH’d upcoming Romeo and Juliet, running this week, for one week only, November 19th-23rd. We discussed what it’s like approaching such iconic roles, working with BASH’d, on-stage chemistry and their thoughts on Canadian Theatre and its utilization of young artisits.

BK: Are you feeling the pressure of filling such iconic roles, in arguably one of the most timeless tragedies?

KP: Well yeah, you do feel the pressure. There’s the iconic movie versions… and Leonardo Di Caprio played Romeo, and they just did it at the Stratford Festival… So yeah. It’s there, it’s big. But the first thing to do, is to forget all of that and approach it like any other part. You try to figure it out for yourself.

HS: I’m trying to be like EVERYONE in one performance. Watch out! (she laughs) Sure, I would say there’s a pressure, however James Wallis, our director, was really great in advising us to approach the text with fresh eyes. There are definite ways in which we have heard these iconic words being performed. We are trying not to fall into those familiar patterns. Instead, we’ve been focusing on telling the story, what you’re saying and who you’re saying them to. I’m trying to make choices for myself and for the story.

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BK: Have you looked to any other actor’s portrayal for inspiration?

KP: Sure, I’m inspired by other Romeos I’ve seen, but I’m trying to figure Romeo out as myself like any other part that I’ve read for the first time, which is difficult because it is one of those plays that we think we know, and have so many other portrayals that have kind of defined the characters for us.

HS: And everyone will have an opinion on how it should be said or what they think Romeo and Juliet should be like. All you can do is stay true to yourself and your interpretation of the characters and the story that you and your cast are trying to tell.

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BK: Talk to me about your rehearsal process?

KP: Once a week for a month we’d get together by scene and we would literally just go through the lines to make sure we were all clear with interpretation and meaning. We didn’t work on intention at all during this text work. It was just strictly for clarity of meaning. James had done an enormous amount of background work on certain words and phrases as well, which was incredible to work with as a starting off point. It was good to have that table work behind us so we could go into our blocking rehearsals really knowing what we were saying, giving us more freedom to play.

HS: Afterwards we were all really prepared to focus on our arguments and our scene partners and the story as a whole. James thinks Shakespeare is best when it’s story based. No bells and whistles just clear storytelling, which was a great way to approach our rehearsal process.

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BK: You have to fall in love every night. How has it been working with each other?

HS: Look at him! I may throw up in my mouth every time I think of kissing him (she laughs) … but seriously, you can start with this one, Kelly.

KP: You don’t want to start? You started?

HS: Nope. You take the lead, Romeo.

KP: The chemistry is…. good! These two characters fall in love instantly. And they are intensely in love. I didn’t know Hallie at all before, other than a “hi, hello” in public. We just tried to get to know each other, become friends. It made the intimacy on stage a lot easier and helped it to develop a lot faster. Ultimately, the chemistry on stage comes from listening and playing off each other. The chemistry is also in the language, let alone in the heart and the body. Really listening and taking in what the other person is saying, using each other’s words, and creating poetry together is where it mainly stems from.

HS: Ditto.

KP: That’s all you’ve got? Ditto? (he laughs)

HS: Well, I’m into that answer! It all comes from trust and feeling comfortable in the scene and in rehearsal with your partner. It’s really about what Kelly said… becoming friends. We are completely playing off each other. You know basic scene principles are that you are trying to affect your partner and you are fighting for what you want from them. In our scenes, that is what it is. We have fun.

BK: How did you get involved with Shakespeare BASH’d?

HS: I had seen both of their past productions in the Toronto Fringe, which were hugely successful and just so enjoyable as a spectator. I took a liking to what the company looks for in Shakespeare, performance and theatre in general. It was fun and laid-back, and in a bar, so you could have a drink during it, which is always nice. It was great, thought-provoking, fun, quality work with so much young local talent. I contacted them when I found out they were auditioning for Juliet and it’s been an incredible experience working with them!

KP: When I was in second year at theatre school at Windsor, I was cast in a production of As You Like It in Brampton. In that production there were many of the cast members of this Romeo and Juliet.  Because of that production, I met James through this network of guys and gals. We’ve connected through our love of Shakespeare and I’ve been working with them ever since.

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Shakespeare BASH’d Mission Statement: To present Shakespeare’s plays as they were written: with simple staging, clear and specific language with an emphasis on the words and characters telling the story.

BK: So you’d say you connect with what the company represents and stands for?

KP: I do. James and Shakespeare BASH’d idea of the text and story being the primary point of focus is why we clicked in the first place. Staying true to it is so important. They always start with such an intense textual analysis of the words in these classic stories and this what I like about them the most. It is also a room that I love working in. It’s such a fun, playful, vibrant room filled with young talent. You get easy access to trying and experimenting and being wrong and trying something completely different.

HS: What’s interesting is our ages range from 20s to roughly 40s give or take. It’s not just a group of 24 year olds, which I feel makes a difference. The room is filled with an incredible group of giving and intelligent performers with a wealth of experience and such variety in process. We all learn from each other constantly. It’s a room where you have the ability to develop your own approach to the work. The cast and crew are incredibly supportive. I feel like I’m coming into my own as an artist in terms of my process because of influence of this group of people.

BK: You are both playing leading roles that are meant to be young in age, and for the Toronto standard, you could both be described as young performers. Going off of a recent article to surface in Toronto, from Holger Syme’s blog dispositio, do you think the Toronto theatre industry has a youth problem? From your experience, do you think there is enough opportunity being given to young performers?

HS: I think it depends on the production. If it’s a choice to utilize an actor that’s different than what is written in the text, then that’s a specific choice. Being in the rehearsal room with all these relatively young performers and theatre makers, and from what I’ve seen of the independent theatre community, I find that there’s a lot of strong, intelligent, bold, exciting, thought-provoking artists out there, who I think should be given the opportunity to show and share their work and who are just as valid in themselves as artists to be seen on the major Canadian theatre stages and in the spotlight, as many 30+ artists are. Beyond that, I think that when you are a young artist with an opportunity for a role of this scale, it is a huge learning opportunity for yourself as an artist and not at some cost to the production. Personally speaking, to have this role of this scale at this time, has been a huge benefit in my development as an artist. I think it’s doable and there should be more trust given to younger artists. Furthermore, I think there needs to be more opportunity for all ages to work together.

KP: I do wish for more of that. For some professional companies they want the sure-fire thing, and often times that means going with someone older that they know rather than take a chance on a more age-appropriate actor with a shorter resume. In terms of theatre and the story, if they have the right spirit or if you look younger than you are and it’s not noticeably distracting, then I don’t mind it. But sometimes I see productions and it dawns on me that this actor is a man, playing a boy but they’re doing things in a manly way which really just seems inappropriate for the character and it will draw me out. I do wish we could find a way to get more young people on stage.

HS: I’ve seen a 35 year old playing a 15 year old and if the essence is appropriate then power to you. Do it!

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BK: Is Shakespeare BASH’d production of Romeo and Juliet different in anyway? Any specific concepts or time periods?

HS: James has been really clear in not putting a time period or a concept to it. I mean… it’s already a tragedy being put on in a bar! There is definitely a lot of comedy to it, but that alone is quite unique and will be interesting. But mainly, he wanted to focus primarily on the story and the relationships of such a classic play.

KP: The costumes are neutral colours but there are jeans and running shoes, but then we have swords.

HS: … and the sword fights are awesome! They are sexy and exciting… Get excited for those!

KP: We really wanted it to be about the story and not have any kind of heavy concept distract from that. Just from the work I’ve seen in rehearsal, I think, and hope, people will really take to it.

Rapid-Fire Question Round

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BK: Favourite Movie:

KP: On the Waterfront
HS: Hook

BK: Favourite Play:

KP: Othello
HS: Vimy by Vern Thiessen

BK: Favourite Musical:

KP: Into the Woods
HS: Cats! Of course… (she laughs) or definitely Next to Normal

BK: Favourite Actor right now:

KP: Ben Whishaw
HS: Carey Mulligan

BK: Favourite food:

KP: Cannelloni
HS: Nachos

BK: Guilty Pleasure:

KP: My pink cardigan. I love it but I never wear it out!
HS: Candy, Real Housewives of Orange County or Beverly Hills… yup.

BK: Best advice you’ve ever gotten:

KP: BLT-Breathe, Listen, Trust
HS: Don’t take yourself out of the part. They hired you for a reason or they are seeing you for a reason. The more of yourself in the part, the better.

BK: Advice for other young artists:

KP: Let it go. There are so many factors out of your control. Leave it in the audition room. You’d go crazy if you try to figure out why you didn’t get cast. Have fun!
HS: Be true to yourself. Also, James said this to me in rehearsal when I was trying really hard to find the right arc to one of the scenes. He said “If you’re looking for perfection, it doesn’t exist, and if it does, it’s boring. It’s just a play… Put into it what you can and don’t beat yourself up over it. It will be interesting” I think that’s great, especially for younger artists to be reminded of coming out of theatre school training. And yes… like Kelly said, have fun!

Romeo and Juliet

by William Shakespeare, presented by Shakespeare BASH’d

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When: One week only, Tuesday, November 19th-Saturday, November 23rd, Tuesday-Friday at 7:30pm, Saturday (Closing) at 4pm
Thursday, November 21 includes an after-show dance party with Silent Shout’s DJ ARP 2600 – http://silentshout.ca/
Friday, November 22 includes an after-show dance party called “Much Ado About Mixing” with DJs Slamlet and Rockthello.

Where: 3030 Dundas West, in the Junction

Tickets: Tuesday, Wednesday, Saturday – $16, Thursday & Friday – $21 (including after-show dance party admission) http://www.shakespearebashd.com/tickets.html

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? 

A Few Words with Hart House’s Jeremy Hutton

By: Ryan Quinn

RQ: So, Robin Hood started as collective creation at Shakespeare by the Sea, correct?

JH: Yeah, 2005.

RQ: Would you like to tell me a little about how that came together?

JH: Shakespeare by the Sea had been doing created family shows for a bunch of years. Very, very kid oriented. Very silly. A lot of them featured pool noodle props and costumes. In 2004, I went to Shakespeare by the Sea and did one of those, it was a Snow White, and I got along really well with Jesse MacLean, who was one of the directors there at the time. I was also doing fight direction for them, and music, and acting. So, we started talking for that next season of doing something a little bigger than the regular family show. I wouldn’t call it “serious”, but there was a little more substance to it than what they had been doing. So I wrote maybe two songs before I got there. I rolled in and we had three weeks to throw together something. Back then, it was before Jesse or myself had really mastered the collective creation. I mean, we did it again this past year with an Alice in Wonderland, and it was a lot smoother process than when we did Robin Hood. It was literally like, we got our casting, and then went off in various groups and they just started improvising their way through the very loose structure that they had set up for us. So, some of that material was awesome. The sheriff and Prince John, a lot of their material remains today pretty much unchanged. Then there were other scenes like Robin Hood and the merry men, where you had ten people trying to improvise onstage at once. By the time we got to opening night on that, we were lucky that we had three quarters of the script done. We just made up the rest as we went along. But, it was hugely successful. It was sloppy but it was hugely successful.

RQ: At what point did it solidify? Is it still being changed? I know you’re in runs, so I assume it’s pretty set in stone.

JH: You’d be surprised, actually.

RQ: Are you still in the process of workshopping the script and the songs?

JH: Yeah, I spent two years after the first run rewriting almost all of the songs. There are only two songs left from the original production. One of those was a four-bar snippet that is now a full song. So, I wrote a lot of new music, and I brought on Kieran MacMillan once I thought that it needed a bit more of a quality composer as opposed to myself. I’m a decent one, but he’s fantastic. Then, there were two productions of it at the Toronto Youth Theatre, and it kept developing over that time. In 2011, I went back to Shakespeare by the Sea with all the new material, and we had to decide, Jesse and I, between the new material and the old material, what we wanted. There were two very different shows at that point. We literally had two different Robin Hood shows. So, we solidified a lot of that, but there was still a lot of stuff, especially music, that wasn’t quite ready yet. Shakespeare by the Sea is more or less a capalla, and you have to write the music to fit that, whereas here, we were rewriting songs throughout the rehearsal process for this. I think that last song we finished writing was on…December 19th. That was “Generosity”, the last song Robin Hood sings in the first half. The closing number we finished about a week before that. It was kind of intense. Even now, there are new orchestrations for the band on a daily basis. It’s mostly done, but we’re still adding minute details.

RQ: So that’s been your role in the Hart House production, you kept adapting and growing the script, the book, the music, etc.

JH: Yeah, exactly. And, I’m also the fight director. Also, the music director, Kieran, was off doing another show so while he was gone, myself and Tara Litvak who was the assistant music director, we taught everybody the music and sort of sat there waiting for Kieran to send us the new pages. Even if the song was written, a lot of it wasn’t on the page. So, there was an intense process of them transferring things to us, and us teaching it. We kept the fights almost identical to how they were in Halifax, so he would have a chance to score them musically. So, that was kind of nice, not having to rebuild all that from scratch. But then again, Robin Hood had an extra five goons to kill in the opening scene, so…

RQ: This is a really personal work of yours because you’ve been so close to it the whole time, was it difficult to let some of that control go when you got to Hart House?

JH: I don’t think that really happened. It was nice for Jesse to have a chance to direct it. He’s never directed it indoors before. He’s never directed it with a female Will Scarlet before, it’s always been a man before. I’m thrilled that I didn’t have to do that because I had enough on my plate. The music, the fights, the rewriting. I don’t think any of us feel like it’s “let go” yet. We’re really close, but you’ll read some reviews that tell you that the show’s a little long and they’re not wrong, so we have to tighten up the content a little bit. The Drowsy Chaperone had fourteen rewrites or something around there before it hit Broadway. We’re at rewrite number eight, so we have a few more to go.

RQ: What drew you to Robin Hood in the first place? Why Robin Hood instead of any of the number of other stories?

JH: I think initially it was that Jesse wanted to do one with a lot of fights in it. They always want to base it on some sort of legend or fairy tale when they’re building a show there. And because they had never really had a fight director before, we all got really excited about adding the possibility of that kind of theatrical magic to the mix. When you’re outside, there’s only certain kinds of theatrical magic you can have. You have costumes, lighting’s not much of an option. You can sing a lot, you can do a lot of acrobatics, you can fight, and those are your theatre magic tricks.

RQ: I want to ask you about Romeo and Juliet as well. You went straight from Romeo and Juliet into this. You must have been working on both at once. How was that experience?

JH: It was intense. Romeo and Juliet is another big, big monster of a production, then Robin Hood started rehearsals two days after Romeo and Juliet opened. So during the rehearsal process for one, I was in auditions for the other, realizing that we still had so much music that was unfinished and I was trying as much as I could to pump out lyrics and melodies. There as a couple actors in this show who were in that one as well, so while Romeo and Juliet was running, Jeremy LaPalme, Dave Difrancesco, these guys were madly rehearsing dances in between.