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In Conversation with Severn Thompson, playwright and performer of ELLE, on stage now at TPM

 

by Bailey Green

When Severn Thompson read the novel Elle four years ago she had no idea that this story would capture her imagination for years to come. The Governor General’s Award-winning novel written by Douglas Glover is based on the true story of Marguerite de Roberval. Marguerite, along with her lover and nurse, were marooned by her uncle the Sieur de Roberval on the Isle of Demons in the Gulf of the St. Lawrence. Thompson spent the last three years adapting and workshopping Elle before bringing it to Theatre Passe Muraille. “It struck me as so refreshing to find a female voice from a time I had heard very little about, in the very early days of the explorers in the mid 1500’s,” says Thompson. “I felt very close to her [the character]. The story crossed 500 years very easily for me. It brought the past to the present.”

Severn Thompson in ELLE at TPM. Photo Credit: Michael Cooper

Severn Thompson in ELLE at TPM. Photo Credit: Michael Cooper

Adapting a 200 page book into a 24 page script is no easy feat, and Thompson had to set deadlines to make the hard choices. From the beginning, Thompson knew that she wanted simple props and set, and that the staging would be essential in creating the world of the play. “You want to still make it as rich an experience as you can,” Thompson says, “and assume that the audience coming in may not have the same background with the story that you have.”

As the project grew, so did the team involved. Thompson participated in the Banff Playwrights Colony where she worked with dramaturg and Program Director Brian Quirt and then Andy McKim, Artistic Director and dramaturg of Theatre Passe Muraille, who “has been guiding me through from an early stage. He [McKim] brings a lot of experience to the work, so that has been so useful” says Thompson. Two and a half years ago, director Christine Brubaker joined the project and became Thompson’s main partner in developing Elle. “We see things in a very similar way, so it’s been great to have eyes from the outside. She’s been really invaluable in pointing to aspects that need more and areas that need less. It’s been a great discovery, seeing how the audience relates to the play.”

Severn Thompson in ELLE at TPM. Photo Credit: Michael Cooper

Severn Thompson in ELLE at TPM. Photo Credit: Michael Cooper

Author Douglas Glover has connected with Thompson throughout the development process, but Thompson notes that he has been very supportive from a distance, recognizing the differences in form between a play and a novel. Glover has seen drafts throughout the process and a short workshop performance at the Lab Cab Festival, but TPM is his first experience of the fully realized production. When asked about the greatest joy Thompson has experienced working on Elle she says:

“To share this story. It’s one that gives a very strong female voice to a point in history where we have heard so little. And she’s not just strong, because bad things happen to her but she doesn’t play the victim and yet she isn’t the perfect hero either. She has faults and quirks and it’s wonderful and exciting to share this character that Douglas has created.”

Thompson also notes that Elle reminds us of the history of our land and how easy it is to forget about the ground we stand on. “Elle reminds us about the power of this land, and the complications that have evolved from colonialism,” Thompson says. “The nature of that history is still in play today, whether we are aware of it or not.”

Jonathan Fisher and Severn Thompson in ELLE at TPM. Photo Credit: Michael Cooper

Jonathan Fisher and Severn Thompson in ELLE at TPM. Photo Credit: Michael Cooper

ELLE

A Theatre Passe Muraille Production

Who:
Adapted by Severn Thompson from the Governor General’s Award-winning novel by Douglas Glover
Directed by Christine Brubaker
Starring Jonathan Fisher & Severn Thompson
Dramaturgy by Christine Brubaker & Andy McKim
Stage Manager: Laura Baxter
Production Design: Jennifer Goodman
Sound Design & Original Music: Lyon Smith
Movement: Viv Moore

What:
“Headstrong. What do you do with a headstrong girl? Maroon her on a deserted island lest she spread the contagion of discontent. Forget her.”

It’s 1542 at the time of France’s ill-fated third attempt to colonize Canada. The Sieur de Roberval abandons his unruly young niece, her lover, and her nurse on the Isle of Demons just off the coast of Labrador. With real bears, spirit bears, and perhaps hallucinated bears, Elle brilliantly reinvents the beginnings of this country’s national narrative.

Where: Theatre Passe Muraille Mainspace, 16 Ryerson Ave. Toronto

When: January 14-31, 2016, Tuesday-Saturday at 7:30pm & Saturday & Sunday at 2pm.

ASL-Interpreted Performances: Thursday January 21 at 7:30pm & Saturday January 30th at 2pm.
Relaxed Performance: Saturday January 23rd at 2pm.

Tickets: $17 Under 30, $20 Artsworker, $33 Seniors, $38 General Admission, Pay-What-You-Can Saturday & Sunday 2pm Matinees. Purchase here. 

Connect:
passemuraille.ca/elle/
@beyondwallsTPM
@severnthompson

#ElleTO

@_BaileyGreen
@intheGreenRoom_

Artist Profile: Sara Farb, Playwright & Performer of personal piece R-E-B-E-C-C-A at Theatre Passe Muraille

Interview by Brittany Kay

I had the utmost pleasure of sitting down with long time friend, Sara Farb, to discuss her new play, R-E-B-E-C-C-A, which opened this week at Theatre Passe Muraille. We shared our “somewhat” fondness of our suburban bubble and the journey into realizing that theatre is the fundamental lifeline that keeps us going.

Throughout the laughter and reminiscences, I couldn’t help but marvel at this woman. She is one of wit, talent and has created a truly remarkable play that shares a one of a kind story.

Brittany: How did you get to where you are now?

Sara: I’m originally from North York, so technically I’m from Toronto but my entire childhood was in Thornhill. A huge part of my childhood was spent at a community theatre program called Charactors Theatre Troupe. I went to Earl Haig Secondary School in the Claude Watson arts program as a drama major and then decided to go to the University of Toronto to get a normal person degree, because I’d been working as an actor and didn’t want to remove myself for too long. University was a constant struggle. I ended up doing really well, but it took me six years to finish. I don’t regret it for a second. It was a really good balance to exercise, especially entering a life where you know multitasking is sort of essential if you want to remain sane. 

For a while, I was working as an editor for on an online publication and the acting wasn’t really happening. At the age of 24, I made a decision to leave the business. 

Brittany: What made you come to that choice?

Sara: It was mostly musical theatre that I was doing and that’s already such a marginalized part of the arts community. What I offered was too astray from the norm that the musical theatre arts community is so devoted to here in this country. You know, not necessarily to its detriment, but very few risks are taken in casting. It was really hard to establish myself in any real momentous way. In like bits and pieces sure. It was just too much of a struggle… too frustrating.

I’ve always had an affinity for words and for literature and I had dabbled in online journalism. I decided that if I’m going to be unsatisfied in a profession, it might as well be one that is more lucrative, yields better results and where the competition isn’t as ferocious. I made the promise to myself that after I had a show in Halifax, that was going to be it. I enrolled in these courses to be an editor and my entire life perspective was going to be flipped after the show. This new re-focus would be in the middle and theatre would be its orbit. That’s the way it looked.

Brittany: That must have been an incredibly hard moment in your life.

Sara: I remember having this watershed conversation with my boyfriend where I felt like I was getting a divorce. I needed a clean break. It was such a huge decision and so monumental in my life. But the second I let it go, it just all came at me like I was a magnet. It was so crazy, but also very informative. I’m not an avid believer in cosmic anything but that’s the closest thing I can think of, of any universal involvement in ones’ life, it seemed. It’s inexplicable. So I decided to ride the wave, but I still didn’t take my foot out of the writing door.

It was evident that I obviously wasn’t ready to let go entirely. Eventually, it led to being asked to come in to audition for Stratford because they needed an immediate replacement. I got the part and that was sort of a no brainer.

Brittany: Well…obviously.

Sara: And so now I’m an actor. The feeling that this isn’t permanent never goes away. This always feels like a temporary fix and that’s why I still write and that’s why I’m very keen on exercising other skills. I am not delusional and I don’t in any way, shape or form think that this is going to stay as good as it’s been forever. That’s simply not realistic.

It’s important to pour everything you have into what you’re doing, but if that’s all you got then I think that’s a serious problem in this industry.

Sara Farb in R-E-B-E-C-C-A. Photo Credit: Michael Cooper

Sara Farb in R-E-B-E-C-C-A. Photo Credit: Michael Cooper

Brittany: Let’s switch gears and talk about the play. How did this play come to be? What was the development process? 

Sara: The last possible year I could participate in the Paprika Festival, I decided to submit. I had sort of been musing about what a play about my sister would even look like because I didn’t really want it to just be a family drama. That wasn’t it. I was kind of more interested in people’s perceptions of people with disabilities and how they might be wrong, especially in my very specific experience with my sister. I know that it’s easy to look at someone like her and feel an overwhelming sense of pity, but in reality she’s actually probably the happier of the two because she’s not aware of the minutia of day-to-day struggle. It just sort of felt like a really interesting place to start. It developed into a 20-minute piece that examined her day-to-day existence. It built a foundation for the development and growth of the play to where it exists now – with a Rebecca that is portrayed in the present and a hypothetical Rebecca.

Rebecca was born prematurely and there’s been speculation in her life that her developmental delay has to do with that. It’s a theory. That sort of coincided with the big question of what you do with legal adulthood even though there’s no comprehension of what that is or any real way of manifesting that with someone who is a perpetual child. What would a hypothetical Rebecca, who was brought fully to term, look like if she were turning eighteen? The play looks at both of those worlds on each of their respective birthdays.

Brittany: How did it come to Theatre Passe Muraille?

Sara: Rob Kempson, who ran Paprika at the time, invited me to participate in the “Old Spice” program, which invites Paprika alumni to further develop their work with a mentor of their choice. Until then, there were a couple years where the development of the play was kind of dead and I didn’t really know what to do with it. This program really sort of kicked me in the ass and it was more due to Rob’s insistence that I applied because I was on the fence about it. It’s just been a really long line of very supportive people, encouraging me to do something about it. So I had my pick of mentors and Richard Greenblatt had been very interested in the play back when I was first doing it with Paprika, so I invited him to be my mentor and dramaturg. It was a really great match. I really owe this to Rob, who brought it to the attention of Andy McKim. It’s been very much on his radar for a very long time.

Brittany: Talk to me about you relationship with your sister.

Sara: It’s very very close in the way that it is. There are few people that she feels comfortable showing all of her colours to, a part from my mom. I may be the next person in line who knows as much about the parts of Rebecca. Her life and my life will really be fused for our entire lives. I adore her to no end. It’s very protective.

Brittany: Like any other older sister would be.

Sara: Pretty much. Obviously there are significant parts of sisterhood missing. It’s like having a four-year-old sister forever. That has its benefits and its costs, but I’ve never wished her to be anything else. I’m pretty aware that I’d probably be a different person if I had an ally in my sister. That’s sort of fodder for why one writes a play like this.

Sara Farb in R-E-B-E-C-C-A. Photo Credit: Michael Cooper

Sara Farb in R-E-B-E-C-C-A. Photo Credit: Michael Cooper

Brittany: You play two Rebeccas in this play. Can you speak a bit about the two of them?

Sara: The characters’ names in the script are May and July. May is the Rebecca that exists and July is the hypothetical one if she were brought to full term. May is a pretty true to life representation that I’ve been able to master after all the time spent with my sister. It’s a little more articulate than she actually is, but it communicates what I perceive to be her thoughts and feelings. July Rebecca comes from the question of what someone would do if they had the deep feeling that they weren’t supposed to exist. The kind of person July is, is the direct opposite of May who’s fully unaware of her existence. Time is not a concept to May. July’s existence is constant. It is not supposed to have happened to her and therefore it’s always there.

Brittany: What has it been like being both playwright and actor?

Sara: It’s been extremely challenging. Richard gave me a week grace period of allowing the playwright into the room and then the playwright had to leave. It had to just be about performing the play. It’s mostly now about getting 80 minutes of theatre from beginning to end without worrying too much. Being able to treat the words like someone else wrote them is strange. Every now and then I’ll come across something and think, “I can’t believe I wrote that.” I’m trying to shelve those opinions. Not having an opinion on the writing has been a really difficult thing. 

Brittany: Richard Greenblatt has been a part of so much of this process. How has it been having him as your director?

Sara: It’s been outstanding. He’s such a champion of thought-provoking, unusual stories and his commitment to this one is humbling. Anytime my confidence has waivered, he’s there to slap me out of it. He’s just got such a keen eye for developing new work and his dramaturgy skills are unbelievable. I just feel so lucky. The whole team are masters in their field and the fact that they assembled because I wrote this play is a really gratifying thing to feel.

Brittany: Who does this play speak to? Speak for?

Sara: It’s an examination of our experience with people with developmental delay and what we project onto them. How we try to fit them into our world when they necessarily might not want to fit into it. The way they operate may be preferable or more natural. It’s sort of a look at everyone’s struggle of the idea and less about what somebody who is disabled struggles with. They could be the happiest people in life but because we know what they can’t do, that’s immediately a reason for pity.

As well as I know Rebecca this is all largely hypothesized. I’ll never truly know exactly how she feels about certain things because there’s a huge lack in ability of communicating. Even for me to impose all of this on her is sort of the point of what I’m trying to get across.

Brittany: What do you want audiences walking away with?

Sara: All I want is for them to be affected. I want them to like the play. I want it to not suck (she laughs).

It’s important to come to terms with these things and how we approach certain ideas and how much we force ourselves onto everything. How something isn’t necessarily a certain way because you feel a certain way about it.

The notion of the ease with which any one of us could have ended up with a genetic disorder. How easy it is for all of that to not go according to plan. If it does go according to plan is that necessarily better?

Rapid Fire Questions:

What is your favourite…

Book: Of Human Bondage.

Movie: Recently, Whiplash.

Place to write: Revel Caffe in Stratford.

Place in Toronto: I really like walking along Bloor Street.

Food: Lately it’s been Korean food. I cannot get enough kimchi into my mouth.

Best advice you’ve ever gotten: Don’t give up, get ready.

R-E-B-E-C-C-A

Written and performed by Sara Farb. Directed and dramaturged by Richard Greenblatt. A Theatre Passe Muraille production.

RBC TPM Cover Photo

Tickets: PWYC-$33  – Buy here.
Where: Theatre Passe Muraille Backspace (16 Ryerson Avenue)
Length: 80 min
When: On now until March 1st.

Connect: Sara Farb @SaraFarb
Theatre Passe Muraille @beyondwallsTPM
Brittany Kay @brittanylkay

On Our Radar TO: Fall in Love with Toronto Theatre this Month

 

Whether it’s with your family, friends, lover, significant-other or you’re treatin’ yo self, we’ve listed our different date suggestions for these lusted-after February shows plus some February events we’re swooning over! These shows are On Our Radar, Toronto, and we think you should Fall in Love With Theatre all over again this February! 

Genesis & Other Stories

Written by Rosamund Small, presented by Aim for the Tangent Theatre

Genesis 2014 Promo Photo #1

Did the nudie promo pictures convince you yet? If you didn’t catch Genesis & Other Stories in their sold-out run in last summer’s Fringe Festival, lucky for you they have brought it back for a February re-mount in the Red Sandcastle Theatre after a revised run in the Hamilton Fringe. If you did catch it, you know you’ll want to see it again! Laugh-out-loud funny, thought-provoking and feel-good family fun… well… It’ll get you talking!

This is our On the Laugh-track to Love date recommendation.

Check out our interview we did with playwright Rosamund Small to find out more about the show. https://inthegreenroom.ca/2013/06/25/we-chat-with-rosamund-small-writer-of-genesis-other-stories/

“After his father’s death, Christopher, a theology student, leads a misfit cast of amateur actors in a production of his late father’s play: a hyper-sexed version of Adam and Eve set in 1960’s USA.  Slapstick, satire, and meta-theatre frame a surprisingly complex story about lonely people trying to fill roles that do not suit us. Christopher tries to convince everyone including himself that he is committed to his religion and its strict views on sexuality, and capable of directing and producing his father’s bizarre script. Despite everyone’s best intentions, a break up, forgotten lines, and a crisis of faith conspire to sabotage the production. The primary focus of Genesis is on laughter, but the show is only funny because of the pain and struggle of Chris and the other characters. A hilarious romp that is sure to get you thinking, whether you’re religious, theatrical, or somewhere in between.”

Genesis Promo Photo #2

“Comically disastrous… very funny. Things could only go worse if the theatre collapsed.” – Jon Kaplan, NOW Magazine

Where: RED Sandcastle Theatre (922 Queen Street East)
When: February 5th-15th Wednesday-Friday 8pm, Saturdays 7pm & 9pm
Tickets: $15 at the Door, $10 in Advance at www.totix.ca or call (416) 845-9411
For more information, visit: www.aimforthetangent.com

Shrew

Taming of the Shrew by William Shakespeare, presented by Red One Theatre Collective

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Killer cast, intriguing promotional poster, “puppetry & Vaudeville charm” set in the Klondike? After being big fans of After Miss Julie, we’re excited to see what Red One Theatre brings us next and Shrew seems to be just the ticket.

This is our Rowdy Buddies at the Shakespeare Show date recommendation.

“The beautiful and gentle Bianca has no shortage of admirers, but her mother insists that she will not marry until her older sister, Katharina, is betrothed. The only problem is that Katharina is the wildest, loudest, maddest shrew in the Klondike. It’s a low-down showdown with honky-tonk, puppetry, slapstick, and Vaudeville charm, and one of these gunslingers will either go broke or strike gold.

In his directorial debut, rising Stratford Festival star and RedOne Theatre veteran Tyrone Savage gathers together Toronto’s premier emerging talents for the first time in this one-of-a-kind production.”

Where: The Storefront Theatre (955 Bloor Street West)
When: February 15th – March 2nd, 2014 8pm (Sunday PWYC Matinees – 2pm)
Tickets: $19.99 Advance tickets available @ www.secureaseat.com

The Way Back to Thursday

Written by Rob Kempson, presented by Theatre Passe Muraille

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Call your Grandma, call your mother… Hell, call EVERYONE and take them to the theatre this month. Rob Kempson has written a charming, funny and moving musical about unconditional love that will have you beaming one minute and reaching for a box of tissues the next.

This is our Reconnecting With Family date recommendation.

“Inspired by the traditional song cycle form, The Way Back to Thursday is a musical about unconditional love that crosses generations, genders and lifetimes.

Cameron and his Grandmother have a special tradition – movie nights every Thursday.  Together they escape into the glamour and romance of the Golden Age of film.  But as Cameron grows, so does the distance between them.”

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Where: Theatre Passe Muraille (16 Ryerson)
When: Now to February 8th
Tickets: Pwyc-$32.50. 416-504-7529

The Ugly One

Written by Marius von Mayenburg, translated by Maja Zade. Co-production by Theatre Smash and Tarragon Theatre

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Sharp, odd, hilarious and the tightest staging, design and performances that we’ve seen in one show in a while – The Ugly One is a must-see before it closes mid-February. We can’t and we won’t stop chatting about it. Theatre Isn’t Dead said it perfectly: “Non-theatre folks will dig it too. I can almost promise that.” –Blog Theatre Isn’t Dead.

We deem this our Theatrical Rejuvenation date aka. Win-over-that-friend-who-is-too-cool-for-theatre-with-the-cool-theatre-show date recommendation.

“You can’t sell anything with that face.” A razor sharp satire about getting ahead in the world. With mesmerizing speed, this award-winning work by one of Germany’s hottest playwrights catapults us into a narcissistic world obsessed with beauty, image and plastic surgery.”

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Where: Tarragon Theatre Extra Space
When: Now until February 16th
Tickets: http://tarragontheatre.com/season/1314/the-ugly-one/

Of Mice and Morro and Jasp

Created and performed by Heather Marie Annis and Amy Lee, presented by U.N.I.T. Productions and Factory Theatre

OF MICE

U.N.I.T. Productions is excited to announce the remount of Of Mice and Morro and Jasp!

Morro and Jasp feel the pinch of the recent economic downturn and decide to try to make ends meet by staging John Steinbeck’s classic tale Of Mice and Men. Can the clown sisters stick to the story? Will they both make it out alive? This winter, find out for yourself!

This is our Friends Until The End date recommendation.

Where: Factory Studio Theatre
When: Jan 28 to Feb 8, Tue-Sat 8PM, Thur 1PM, Sat 2PM
Tickets: $25 Regular Price / $20 Student, Senior, Arts Worker PWYC Preview Jan 28 www.factorytheatre.ca 416-504-9971

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Read our latest interview with Co-creators & performers Heather Marie Annis and Amy Lee here: https://inthegreenroom.ca/2014/01/29/of-mice-and-morro-and-jasp/

Idiot’s Delight

Written by Robert E. Sherwood, presented by Soulpepper Theatre

Courtney Ch'ng Lancaster, Hailey Gillis, Gregory Prest & Dan Chameroy. Photo Credit: Cylla von Tiedemann

Courtney Ch’ng Lancaster, Hailey Gillis, Gregory Prest & Dan Chameroy. Photo Credit: Cylla von Tiedemann

With 1920’s flair, song, dance and love amongst wartime, this is our Indulging in Delights date recommendation.

“A cast of wonderfully eccentric and international guests – countesses, arms dealers, showgirls, revolutionaries, charlatans and lovers – spend a fateful weekend in a resort hotel in the Italian Alps. While songs are sung and dances danced and loves rekindled, the dark clouds of war come rolling in.”

Where: Young Centre for the Performing Arts
When: January 29th – March 1st
Tickets: http://soulpepper.ca/performances/14_season/Idiot’s_Delight.aspx

Read our latest Artist Profile with Paolo Santalucia & Courtney Ch’ng Lancaster “From Academy to Company in Soulpepper’s “Idiot’s Delight” here: https://inthegreenroom.ca/artist-profiles/

the dreamer examines his pillow

By John Patrick Shanley, presented by JR Theatre Company

Dreamer_poster_WEB

the dreamer examines his pillow is a surreal, intimate look at the beautiful and dark forces of love. The play explores the aftermath of love, whether it’s after an explosive affair between two lovers, or the dwindling, harsh lack of love from a widowed father to his daughter. Poetic, lyrical and rough – the dreamer examines his pillow is one of contemporary theatre’s finest looks at intimacy and need. It sounds to us like the perfect antithesis to Hallmark’s version of Valentine’s Day!

This is our Dark Surrealist Valentine’s Day date recommendation.

Where: The Box Toronto (89 Niagara Street)
When: February 7th-16th Fridays & Saturdays 8pm, Sundays 2pm
Tickets: dreamer.brownpapertickets.com 

LABOUR

Written by Eric Welch and Ryan Welch. Based on the original short story by Ryan Welch with further realization by The Coyote Collective Company, presented by Coyote Collective

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LABOUR looks at the Sisyphean life of factory day-workers, who see no choices but to go to work every day, and have resigned themselves to a life of the same. For these four characters, commodification has completely changed the way they think about life, love, and happiness.

This is our Socially Conscious date recommendation.

Where: Theatre Passe-Muraille Backspace
When: February 5th to the 9th. 5th-7th 7:30pm, 8th 2pm & 7:30pm, 9th 2pm
Tickets: $20, Student/Senior $15, PWYC: Saturday, February 8th 2:00pm, Opening and Media Night: Wednesday, February 5th
Tickets available for purchase at artsboxoffice.ca or at the door. 

Events We’re Crushin’ On:

The 35th Rhubarb Festival

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Buddies in Bad Times Theatre presents their 35th annual festival of new works in contemporary theatre, performance art, dance, and music. For two weeks artists transform the Buddies neighbourhood into a hotbed of experimentation, sharing new works in contemporary theatre, performance art, dance, and music with adventure-loving audiences.

New to the festival this year is a new series of Open Space Projects will animate unexpected spaces around the Buddies neighbourhood and make new artistic connections between five historic queer institutions here in Toronto.

When: February 12th-23rd
Where: Buddies in Bad Times Theatre & around the neighbourhood
Tickets: Open Space Projects & Artist Talks – Free
Young Creators Unit – PWYC
Week One Mainstage Projects – $10
Week Two Evening Passes – $20

Roar

Written & performed by Spencer Charles Smith, presented by Straight Camp

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“Roar – a solo play about beefy, burly, brawny love”

SYNOPSIS – A boy’s campy quest for furry love, Spencer will explore his unapologetic desire for ‘bearish’ men, critique the problematic spectrum of identities within the Bear community (Bear, Cub, Otter, Panda, Muscle-Bear, etc.) and hopefully deconstruct notions of hegemonic masculinity.

Above all, it’s a love letter.

This is a staged-reading of Spencer’s latest draft of Roar and he is eager to hear your feedback. A talk-back will follow the presentation. And drinks. Featuring a special pre-show presentation: “Kid: A Queer Fable”, written, illustrated and performed by Katie Sly

Where: Videofag (187 Augusta Ave)
When: Wednesday February 5th 8pm, Thursday February 6th 8pm
Tickets: PWYC (at the door)

Theatre on a Theme: Love

Conceived and Directed by Drew O’Hara, presented by Everybody to the Theatre Company

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“Six actors, 18 theatre pieces that vary in length from 10 minutes to 10 seconds. What do you get? A hilarious, heart-wrenching, fast-paced, occasionally musical, exciting night at the theatre. Following the success of Theatre on a Theme: FAILURE, the Everybody to the Theatre Company gang will bring you Theatre on a Theme: LOVE, just in time for Valentine’s Day.”

Where: Unit 102 Theatre (376 Dufferin Street)
When: Sunday February 23rd 2pm & 8pm
Tickets: http://www.eventbrite.ca/o/everybody-to-the-theatre-company-4737180757?s=20682528

William Shakespeare’s Star Wars: Verily, A New Hope”

Written by Ian Doescher, presented by Red One Theatre Collective and Confessions of a Redheaded Coffeeshop Girl

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A one-night only staged reading of the classic sci-fi epic told in the Bard’s style.

“This sublime retelling of George Lucas’s epic Star Wars in the style of the immortal Bard of Avon. The Saga of a wise (Jedi) knight and an evil (Sith) lord, of a beautiful princess held captive and a young hero coming of age, Star Wars abounds with all the valor and villainy of Shakespeare’s greatest plays.” This is the play you are looking for. Lightsaber fights included! Themed drinks/food/entertainment too – say whaaat!

Where: The Storefront Theatre (955 Bloor Street West)
When: February 7th Doors at 7pm, Show at 8pm
Tickets
: $10 in advance online www.secureaseat.com or $15 at the door. 

The Howland Company Reading Group – February:

February 9th Charles Mee’s “Big Love”, February 23rd Jez Butterworth’s “Jerusalem”

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“Bi-weekly, The Howland Company hosts an open event called The Reading Group, where artists are encouraged to gather, meet, reconnect and work with fellow members of the Toronto theatre community and ultimately read a play together.

The readings are a laid-back, social way to work with peers and continue to develop our craft. Scripts are provided and parts are assigned and exchanged on the fly. All are welcome to participate in reading or sit back and listen.”

Check out the history of The Reading Group, including all plays past and future, at: http://howlandcompanytheatre.com/the-reading-group/.

For event updates: https://www.facebook.com/TheHowlandCompanyTheatre

When: Sunday February 9th & Sunday February 23rd 7:30pm
Where: Location is posted on the Facebook Event page: https://www.facebook.com/TheHowlandCompanyTheatre
Tickets: Free

A Wake For Lost Time – A 24-hour Durational Piece January 10-11th at Theatre Passe Muraille Backspace

Interview by Hallie Seline

I met with the fine folks of the Elephants in the Room collective in the TPM backspace this week as they were in the throws of refining their first ever 24-hour durational performance piece experiment A Wake For Lost Time, running Friday January 10th-Saturday January 11th, with a live-stream component. 

HS: Hi friends. Care to introduce yourselves and what you do? 

MS: Moez Surani, Poet. (he laughs)

MR: … I wish I could introduce myself as “Poet”. Hello, I’m Michael Reinhart, and I guess I would say I’m a Theatre Creator.

HS: So tell me about the Elephants in the Room collective and how you started.

MR: We’re a group of artists who wanted to find new ways of working, integrating other forms and to find ways to create some synthesis between our different artistic forms. Many of us had been inspired by companies in Europe and New York who had found ways to create that synthesis, like the Wooster Group and She She Pop for example, and many of us hadn’t been satisfied in the past with the opportunities or lack of opportunities we had to explore these kinds of creation methods. We all auditioned in various ways in response to a posting done by Theatre Passe Muraille and here we are.
Our hope over the past few months has been to come into the experience with our different backgrounds and influences, whether we were performers, performance artists, playwrights, dancers or poets for example, and try to figure out a way of working and creating together in a unique and hopefully interesting way.

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In Rehearsal and Creation: Michael Reinhart and Kanika Ambrose

HS: This is the second session that you are meeting and creating since your first session where you initially met one another and began working together. What are some of the benefits you’ve discovered that comes with working as a group of 8-13 artists of various artistic backgrounds?

MS: Material gets generated very quickly. We go from concept to product very quickly. Because there is so much man/woman-power and being a group of individuals with access to a variety of strengths and materials, whether it’s creative material or physical prop or set material, we benefit from the diversity of our artistic backgrounds.

MR: Things can also move slower because we have so many bodies, in terms of decision making, however the benefit to working in the way that we do with the artists that we do, is that we’re working in more of a layering fashion rather than from a linear, traditional narrative perspective. We develop ideology, concept and discipline on top of each other so it makes kind of a tapestry rather than something more traditionally linear. It’s been quite interesting to explore working in that way. You have to compromise or else the work doesn’t happen but with everyone being dedicated to the work, with this group of artists, you can develop some extraordinary things.

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From left: Michael Reinhart, Karen Hawes, Kanika Ambrose

HS: Tell me a bit about the structure of your developing working model.

MR: We’ll we require a lot of time working together because we really are starting from scratch, trying things out. We’re still in a very early stage of working as a group, even though we’ve done it off and on for almost a year, it’s still quite early, and we’re still trying to figure out an exact working model that we can call our own, being a unique set-up of artists.

I’m really interested in System’s Theory, which is another story all together (he laughs), but the idea of disparate elements working where links of communication are made and are strengthened over time and so by working and working and working, even when things like concept or narrative are not completely clear, by the act of building, all of a sudden a narrative or a theme or a concept emerges. For example, an apartment building starts off as a hole in the ground and a bunch of pieces of metal and then by work and time, all of a sudden an apartment building emerges out of all of that effort, instruction, architechture and ideas. I think we work in a similar way, albeit we work in something ephemeral like theatre. We develop a couple of parameters or start with the spark of an idea and we take some stabs at it. From that, a critique is made or another image is presented and then we work with that in relation to the first idea. We add another and another and then over time and work, all of a sudden something builds and eventually something emerges which could be a concept or as on Friday, it could be a show!

HS: Tell me about A Wake for Lost Time.

MR: A Wake for Lost Time is a 24-hour ritual to time, for time and for the things that were lost in time. Largely it’s an expression. For example, as in a wake for the dead, you have a corpse in the room and you have people who are mourning and a party occurs eventually. People move the corpse, or push the corpse or deal with the corpse throughout the wake but there’s this party happening as well. What is that party? Well yes, it’s a party and yes, it’s a celebration of the person who died but not exactly because people are getting drunk and having sex in the other room and they are fighting and doing performances and all of it kind of has nothing to do with the person who died, exactly, but it has everything to do with death. Because what these people are doing is expressing their life and vitality face to face with death. They are creating, if only for a moment, a profound stalemate with death, which they know can’t last, but that’s what humanity does. Our death is rather at one end of time, you know? Time’s the container or the avenue, perhaps, and death is at the end of it… or at least that’s one way to think of it. What we’re doing is we’re bringing time here, using that kind of ritual event. We’re not just representing it but we’re physically letting it be real by having it act on us as performers and the performance itself for 24 hours.

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Michael Reinhart

MS: I think one aspect that I’m excited about with this show is that it’s going to recur in two hour cycles but there are parts in each cycle that once they’ve been performed, physically they will impede future performance. Things will stay on stage, take up space and the subsequent cycle will try to be redone as faithfully and as intensely as possible but there will be the residue of the previous time it was done and then the time before that and so on. Also, not only will you have the residue of the prior cycles building up, but at the same time, we’re going to be up all night and either degrading or getting better as the hours accumulate. One of the main tensions I see is going to be with the physical space and how we’re going to work with or around it.

HS: If you could entice someone to see A Wake For Lost Time in 5-10 words, what would they be?

MR: That’s tough… You get to participate in something trying not to break…

MS: Oh god… give me a second.

MR: They get to experience time. There are many ways in which, we think, people don’t really experience time as much any more. It just slips by. One of our invitations for this is “For a little while, maybe try to get it back for a bit with us”.

MS: I’ve got it. Fishes, Norad, feast, string theory.

HS: Intriguing! Last question, if you could recommend a song to listen to before coming to see the show, what would it be?

MS: Tom Waits – Time

MR: The Sinking of the Titanic by Gavin Bryars.

A Wake For Lost Time

by the Elephants in the Room collective

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What: A 24-hour performance experiment that explores how time passes through bodies. It’s a disquieting party, an ardent ritual and an ode to what’s happening and what’s to come. This interdisciplinary theatre collective combines performance art, poetry, classical and post-dramatic theatre to create a show where the typical patterns break, clocks are flung aside and time, steady and relentless, conquers and is conquered by the stage debut from the Elephants in the Room collective.

The Collective: Kanika Ambrose, Donna Marie Baratta, Kathleen Goodleaf, Jenna Harris, Karen Hawes, Thomas McKechnie, Michael Reinhart, Tanya Rintoul, Moez Surani

Stage Managed by Kristina Abbondanza

Performance Times:
‘A Wake for Lost Time’ is a one-time only 24-hour performance experiment. To attend, audiences can purchase tickets to any number of the three public performance periods within the ritual (scheduled at the beginning, middle and end of the 24 hours)

People can leave at any time during the ritual, but there will be only one scheduled intermission (and time for re-entry into the space) which will occur during the halfway point of a given public performance.

Friday January 10th 2014: 7:30pm -10:45pm ($10.00)
Saturday January 11th 2014: 11:30am -1:45pm (PWYC)
Saturday January 11th 2014: 3:30pm -7:30pm ($10.00)

http://www.passemuraille.on.ca/elephants-in-the-room-creation-group/

‘A Wake for Lost Time’ will include a live stream of the entire 24-Hour performance. The streaming will begin on January 10th at 7:30pm.
Please click the link below for more information and to watch the performance:
http://www.ustream.tv/channel/a-wake-for-lost-time-a-performance-experiment-by-elephants-in-the-room

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?