Posts tagged ‘Toronto Fringe’

Jun 29

2014 Fringe Preview – Three Men in a Boat – Pea Green Theatre Group

Interview by Charlotte Cattell

On a warm Friday afternoon I entered a very warm rehearsal hall. But even in the stifling heat I entered a room of extremely happy and exceedingly warm-hearted artists. Having just completed a run, this generous team agreed to sit down with me and talk a little bit about their upcoming production in the Fringe, Three men in a Boat. I had the privilege of speaking with Adaptor: Mark Brownell, Director: Sue Miner, Stage Manager: Hilary Unger, and the Cast members including: Scott Garland, Matt Pilipiak, and Victor Pokinko.

Charlotte: Sue, tell me a little bit about the show. How did this group and project come together?

Sue: Well, the show is Mark’s adaptation of an old book by Jerome K. Jerome. The book was published in 1889, and it’s known all over the world, it’s a very very famous book. There have been a lot of different interpretations, but this story actually came into Mark and my life years and years ago. We actually… well, he’s been wanting to do a play on it since the nineties, hey?

Mark: (Nodding yes.)

Sue: We’ve done the Fringe for a very long time, the Pea Green Group, and Mark was actually a theatre history teacher of both Scott and Matt. So, he said, let’s do “Three Men” with these guys, and I had just worked with Victor. So this is how we all came together.

Mark: We got too old to do it ourselves, we needed some young bodies.

Charlotte: And Mark, what drew you initially to this piece?

Mark: It has a really strange lasting appeal because it’s never been out of print. And the reason is, I think, is because bad camping experiences are kind of universal and eternal, and Canadians understand that really well. That’s why it goes well in Canada. It just never falls out of fashion. This story has a freshness to it, even though it’s Victorian and the language is very old fashioned, for some reason it strikes a chord with us to this day.

Sue: And also, the fact that these three guys are stressed out and have to get away from it all. And we think it’s new to us. You know, it’s like, I have to get off Facebook, I have to get away, but these guys are feeling the same things that we do and they have to get away. So that’s what they try to do.

Charlotte: How has the overall rehearsal process been?

Matt: It’s been great! It’s been a whirlwind. This is our day nine of twelve, but it’s great because, although it’s a short amount of time, it’s the only thing we’ve been focusing on and we’ve been able to constantly live in this world for the last week and a half. It’s been a lot all at once. Sweaty and fun, but it’s been really good.

Scott: The virtue of such a shortened intense rehearsal process is that we as actors are given a chance to practice efficiency in process. We love playing, we still play in the room. However, this has been a wonderful opportunity to show up, do your job, and then have fun doing it. I wish we had more time, but with the time we’ve been given it’s one of the most awesome experiences I’ve had, and that’s due also in part to the professionalism of the actors and the trust of our wonderful director and the wonderful material to play with. And also, Mark has made cuts throughout to make it even more efficient. There’s something very refreshing about being able to zero in and harness the core of those entertaining bits.

Mark: It is a new script so we are cutting and chopping away. Putting stuff in to make it work.

Charlotte: Has the pressure of a short rehearsal process caused you to make rash decisions in terms of cutting or changing scenes in the script?

Mark: I wouldn’t say rash but we are well aware of the pace. The fact that it’s a journey, it has to be paced well. You can’t just have frantic action. You need the little nooks and crannies where they have pauses so the audience can take a breath as well. It’s quite a different experience were we to take it on further, which is of course what we want to do, but we’d have to expand it into ninety minutes and two acts and then the pace would be quite different.

Scott: Also, the minimalism of props and sets, the world is very much created mostly through our three combined efforts.

Matt: We have a stool, a chair, a stuffed dog and a banjolele. That’s it! And somehow we take the audience on an entire journey down the river.

Victor: I think what Scott said was bang on. The fact that we can play and that we can find play because there is a certain level of chemistry between me and these two that I can kind of harness and tap into and work off of. I think the reason we are able to get as much work done as we are is simply because the chemistry is flying constantly. And even if one of us is having an off day or an off run the other two are very ready to pull up and work a little harder to get things rolling.

Matt: Yes, even though I narrate a majority of the piece, it is impossible without the three. You need three to carry the story and you can’t have any part of the story happen without one of them.

Charlotte: And Mark, as the writer, are you seeing what you expected to see while you were creating the piece?

Mark: Yes absolutely. I mean, I wrote the original text so long ago, that I obviously had three other people in mind, but when we reopened the text and had a look at it again I knew I wanted three very distinctive actors that stand out individually but can come together. And that’s the unique thing about these guys. They fit like a glove, from day one. They’re still close to their theatre school training so they haven’t gotten lazy like me. You know, you get far enough away from school that you lose that kind of edge, that sharpness and these guys have it in spades. I’m exceedingly happy with these guys.

Charlotte: I noticed that Rigzin Tute is noted as being in charge of music. Was the music created specifically for this piece?

Matt: Rigzin, who is the Music Director of this piece, didn’t write the music but he took an old song, it’s called the Eton Boating Song, and he arranged it into an a-cappella, three part harmony, barber shop sort of thing. That we use as a motif throughout the journey.

Scott: Would you like to hear the song?

Charlotte: Absolutely!

Victor: Do you have the pitch pipe?

Matt: Yeah!

Matt proceeds to blow into the pitch pipe. All of the gentlemen hum, and Matt counts them in with a rigorous and British “1,2,3,1,2,3”. They proceed to serenade me with one verse of an old fashioned and very upbeat song that put me right into their world and onto the boat with them.

Charlotte: Wow! That was so amazing thank you! It’s like a free concert! In the 1800s! Even from that I can get a sense of that chemistry you all spoke of earlier, which leads me to my next question. Sue, how has it been to take on this project with just a three person cast?

Sue: Three’s the perfect cast! Three is the perfect amount of people in a show because a one person show that’s a whole different animal, and two people you feel like you’ll be stuck with these two people, but three you’re never bored! Some of them sort of play other characters too and it’s so lovely.

Charlotte: And how has it been for you guys? How has it established the relationship dynamic between the characters?

Scott: To echo Victor, it’s wonderful to be in rehearsal with a cohesive unit. But the characters in the script are done in a way that each one is different enough to be interesting on their own but they’re similar enough that when they’re together they act as a unit. It’s three pillars holding up a show and it’s the perfect balance.

Victor: When you’re blitzing into a Fringe, if you have a ten person cast, the chance of you getting to know nine other people is difficult. If you have a two person cast it’s very easy to get sick of them. But with three it becomes a nice dynamic.

Matt: You have the dynamic of each individual. Then you have the relationship between two and the relationship between the other two, and finally all three together. So then there are a lot of different microcosms, and all of that you can kind of rest on.

Charlotte: What has been your favourite thing to rehearse for this show?

Victor: I don’t want to give too much away, but we have a spectacular pineapple war. And that is my favourite part.

Matt: We go to war with a tin of pineapple. Umm…

Scott: It’s…It’s intense.

Victor: Possibly the most intense thing I’ve ever done.

Matt: Uh, yeah actually, I think that would have to be my favourite bit too.

Scott: Yeah, it’s unanimous. I love that sequence so much.

Charlotte: Kind of a silly question, what would you say, for each of you, is your character’s favourite and least favourite trait about your two counter parts?

Victor: Oh God!

Scott: There’s so many!

Mark: All they do is complain about each other.

Victor: I think Jay (Matt Pilipiak) takes things too personally and I think Harris (Scott Garland) drinks too much. What I like about Harris is that he always makes me laugh, always, always, always. And, what I like about Jay is that he is so poised and so elegant. He’s so idealistic. The beautiful things in the world, he just wants to grab them and put them into his philosophical brain and muse and muse.

Matt: I like that George (Victor Pokinko) has all these facts. He’s a very factual man, regardless of whether or not they are correct facts. I go to him for the facts. He’s like Wikipedia before it existed. But I don’t like when he tries to steal my spotlight. That hurts my feelings. I like what a wild card Harris is, that I never know what he’s going to do. I find that very entertaining. And I don’t like that he drinks.

Scott: I like that George is very willing to be my partner in crime for anything. Let’s go swimming! Okay! I like that Jay clearly holds us as part of his team. He’s very selfless in that way, very loyal and I appreciate that. What I don’t like about George is that he thinks he can play the banjolele. You cannot play the banjolele. And what I don’t like about Jay is he’s less willing to do something stupid with me.

Charlotte: Any final thoughts?

Sue: I’m really excited to share it with an audience because I sit here and I am grinning from ear to ear watching it. It’s so much fun and it’s going to be great to see it in that space because the Annex has that wood. In fact we’ve incorporated the wood of the theatre into the play. And our little set such as it is matches the theatre so it’s just going to be really wonderful to be there. And the thing that always blows me away is watching them, and I know how it goes, but to see them travel so far and always wherever they are I’m there. If they’re sitting out on a grassy bank looking up at the stars, I’m there. If they’re in the middle of a busy walk, if they’re in a thunder storm, I’m there. I think that’s really special.

I for one cannot wait to be charmed by this cast and its production team once again during the Fringe. Bon voyage, see you on the waters!

Three Men in a Boat

Presented by Pea Green Theatre Group as part of The Toronto Fringe

Three Men in a Boat Cast from left to right: Victor Pokinko, Matt Pilipiak, Scott Garland

Directed by: Sue Miner

Original Story by: Jerome K. Jerome

Adapted by: Mark Brownell

Musical Arrangement by: Rigzin Tute

Period Costumes by: Nina Okens

Stage Managed by: Hilary Unger

Starring: Victor Pokinko, Matt Pilipiak, and Scott Garland

Where? The Annex Theatre (730 Bathurst Street)

When? July 2-13
July 02 at 6:30pm

July 04 at 1:15pm

July 06 at 4:00pm

July 09 at 9:15pm

July 10 at 11:00pm

July 12 at 7:30pm

July 13 at 12:00pm

Tickets: Can be purchased via http://fringetix.ca/ or by calling 416-966-1062

And for further information on the Pea Green Theatre Group you can visit their website at: peagreentheatre.com

Trailer:

Jan 14

Artist Profile: Sam S. Mullins – Storyteller of Fatherly at the Next Stage Theatre Festival

Interview by Hallie Seline

HS: We hear you wear many hats (Comedy, Radio, Playwright, Performer etc). Tell us a bit about yourself and what draws you to the playwright/performer medium with stories like Weaksauce andFatherly?

SM: So many silly hats.

I spend the largest portion of my creative time writing sketch comedy for CBC’s The Irrelevant Show. This is my first year as a full time writer on that show, and it’s been a really terrific experience. Also radio-wise, I’m a regular contributor to the CBC storytelling program Definitely Not the Opera, and I was fortunate enough to get a story on NPR’s The Moth Radio Hour recently, which was always a dream of mine.

So. I work in radio, I suppose, which is really exciting for my Grandmother. She tells me that radio used to be a thing.

In the summers, I tour my one-man comedy monologues on the Canadian Fringe circuit. This will be my 4th summer doing the Fringe, and I’m currently trying to decide whether or not I’ll be touring with a version of this current show. I might want to write something new, but then of course, I’d have to go through the agonizing process of premiering a brand new show all over again – which is not for the faint of heart.

So simply, I write sketch comedy and am a storyteller.

What draws me to storytelling? Hm.

I guess I love the simplicity of it. I like the idea of taking something completely stripped of all artifice and theatricality and mounting it in a theatrical space. Of watching something that doesn’t feel like theatre as if it were theatre. I like that I can be funny or poignant or dark or light all at the same time. It doesn’t have to be heavy handed. It doesn’t have to be hilarious. It just has to be true. Theatre is very much a pursuit of truth, so what makes me love going to see a storytelling show, is that it isn’t even a pursuit of truth. It can just be the truth. That will always be captivating to me.

Also. I wasn’t a great actor. And in storytelling, I don’t have to act.

HS: Can you speak about Fatherly and where you found the inspiration to write it.

SM: The main story around which I built the show has been my favourite “over beers” story to tell people for a few years now, and it was only a matter of time before I wrote it into a show. It’s a crazy story. Also, I’m a big fan of real-life characters, and the man who raised me is one of those real-life character with whom I knew that audiences would want to be acquainted.

HS: If you could give me 5 words to entice someone to come see Fatherly, what would they be?

SM: You must meet Bill Mullins

HS: What song should someone listen to before coming to see Fatherly?

SM: Yikes. Maybe “The Greatest” by Kenny Rogers. My mother recommended it to be my curtain call song, and thematically, it’s pretty perfect. Maybe too perfect.

HS: Where do you look to find inspiration?

SM: My heroes: Ira Glass, Marc Maron, Woody Allen, Judd Apatow, Mike Birbiglia and David Sedaris.

HS: What’s the best advice you have ever received?

SM: I used to work in this busy restaurant in Vancouver, and our staff mantra was “Keep doing things. Keep doing things.” The theory behind it is that there’s always something to do in a restaurant. Polish cutlery. Sweep. Clear some plates. But now I’ve kind of extended that mantra into my creative life. Theoretically, if I keep doing things, everything will run more efficiently in my career. It helps me kick myself in the ass.

“Aw shit. I’m watching hockey highlights again. I should be doing a “thing” instead.“

Also, I’m a fan of this Louis CK quote:

“Everything you do should be better than everything you’ve done before. That, to me, is a guiding principle.”

HS: What’s your favourite place in Toronto/in Canada and why?

SM: Favourite place in Toronto is the outdoor skating rink by Bathurst and Dundas. I love playing shinny, and with the city skyline as the backdrop, it’s just stunning.

My favourite place in Canada is the lake on which I grew up – Kalamalka in the Okanagan. Google it. You’ll never see a more beautiful place.

HS: What is you favourite beer in the Next Stage Festival beer tent?

SM: When I’m at a theatre festival, I’m all about the Apricot St Ambroise. I only drink it in the context of a theatre beer tent, so it tastes like I’m having the time of my life.

Fatherly

Written and performed by Sam S. Mullins
Where: Factory Theatre Antechamber
When:
Mon Jan 13 8.30pm
Wed Jan 15 8.15pm
Thu Jan 16 6.15pm
Fri Jan 17 6.15pm
Sat Jan 18 8.15pm
Sun Jan 19 6.45pm
Tickets: $10 www.fringetoronto.com/next-stage-festival/

Follow Sam’s blog: http://samsmullins.com/

Nov 18

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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.

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.

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.

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.

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!

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

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

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

Nov 6

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

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

Savage in Limbo

Written by John Patrick Shanley, presented by Bob Kills Theatre

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 22^nd – Thursday November 7^th 8pm.

Tickets: $20 savageintoronto.com

The Double

A TheatreRUN production presented by Tarragon Theatre

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 15^th-November 24^th

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

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

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

Moss Park

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

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 5^th-16^th, 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

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 3^rd 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

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

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

Mature Young Adults

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

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 20^th-24^th: 19^th-22^nd 8pm, 23^rd & 24^th 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

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

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

The Sacrifice Zone

Written by Suzie Miller, presented by Theatre Gargantua

If you’ve never been to a Gargantua performance, now is your chance to catch their world premiere of their 10^th 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 13^th-30^th Wednesday-Saturday 8pm, Saturday November 16^th & November 20^th 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

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?

Jan 14

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“Start, Stop, Continue” for 2013: A Conversation Starter for the Toronto Theatre Arts Community

By: Hallie Seline – Co-Founder & Editor

The past year in Toronto theatre has been a tumultuous one to say the least. From the firing of Ken Gass from the Factory Theatre, to the open letter to younger theatre artists by David Ferry on the Praxis website and the debate that ensued. From government funding, a desire for a new union model, the plethora of new independent theatre companies, and where emerging and veteran artists alike fit into the Toronto theater world, there is a lot of discussion to be had about where we stand as a community and where we should hope to go next. As we begin the new year I think this is a perfect time to reflect on what we have done as an arts community in 2012, where we currently stand and most importantly how we hope to move forward in 2013.

I have done this in the form of a “Start, Stop, Continue”. Our first installment features the ideas of Rob Kempson (Theatre Passe Muraille/Paprika Festival), Stacey Norton (Theatre Smash), Kelly Straughan (The Toronto Fringe, Seventh Stage Theatre) and Eric Double (Theatre Caravel).

Read our Feature’s first installment here!