Review: Ignorance

(photo credit: Jason Strang Photography)

Ignorance is Bliss
The Old Trout Puppet Workshop amazes with its new production

by Stuart Munro

What is happiness? Is it really just a simple matter of winning or losing? These questions, and some slightly more complex ones related to them, are purportedly the subject matter of Ignorance, the new piece by the Old Trout Puppet Workshop, now playing at Canadian Stage’s Berkeley Street Theatre. Created by the Workshop, Ignorance also received input from anonymous contributors via the company’s website during its development, resulting in a uniquely collaborative piece.

Review: The Arsonists

Fiona Reid (photo credit: Bruce Zinger)

Firebugs

by Dave Ross

@dmjross

Plays translated from their original language are always intriguing. Sometimes, the story manages to transcend language barriers, and sometimes things can get lost in the translation—caution must be exercised. Max Frisch’s The Arsonists was translated anew from its original German to English by Alistair Beaton in 2007, and made its Canadian debut last night at Canadian Stage, and to be quite honest, I wasn’t sure what to make of the story.

The program notes state that the play can be read as “a comment on the neutrality of Switzerland during World War II, in particular its 'don’t ask, don’t tell' response to the rise of Nazism.” I can see that interpretation but it was not apparent—I had to search for it. The Arsonists tells the story of Gottlieb Biedermann (Michael Ball) and wife Babette (Fiona Reid), an upper-class couple who find themselves the unwilling hosts to Schmitz (Dan Chameroy) and Eisenring (Shawn Wright), two arsonists who take up residence in the attic, along with their score of detonators and drums of gasoline. A surreal commentary on our ability to ignore acts of evil, the story is rife with opportunity for humour, but it’s also a very simple one. I expect much of the audience could enjoy the play without its intended moral message.

Review: Speaking in Tongues

Helene Joy and Jonathan Goad in Speaking in Tongues. Photo by Shaun Benson.

Sydney's Language

by Christian Baines

@XtianBaines

Those arguing the case for Australian film often cite Ray Lawrence’s Lantana as one of the country’s finest efforts, and it’s easy to see why. A sweeping, multi-pronged narrative of four couples linked tenuously by various breaches of trust, it brought Andrew Bovell’s play Speaking in Tongues to the screen in a vivid hybrid of mystery and relationship drama set within suburban Sydney. 

Two couples share the stage, each in a nondescript hotel room, unknowingly about to enjoy a little illicit partner swapping. Peter and Sonja refuse to go through with it, while Leon and Jane suffer no such attack of conscience. The scene feels awkward, as the two pairings spout the same simple, clichéd lines we’ve heard in a million infidelity dramas before. But it sets up a familiarity to be tossed aside the moment each of the four arrives home. It frees Bovell to subvert tiresome expectations and give each character’s dilemma the time and exploration it deserves. The play doesn’t consume itself with the offence, but instead uses it to illustrate a bigger picture.

The Story: Interview with Matthew Jocelyn, Artistic Director, Canadian Stage

(photo credit: George Pimentel)

The King (of collaboration)

The controversial boss talks about listening to company-members and artists and finding the "juste milieu" in an age of "right-sizing"

by Christian Baines

Since taking the reins as Artistic Director of Canadian Stage in 2009, Toronto-born Matthew Jocelyn has embraced an approach that’s as contemporary and adaptable as it is prudent. He talks to CharPo about a new season, dance theatre, and why there’s no formula for theatre ‘right-sizing.’ 

CHARPO: Canadian Stage has undergone quite a few changes since you took over. How would you describe the company’s place in the Toronto theatre scene now?

JOCELYN: That’s almost more for others to say than for me. Obviously we’re aware of what’s happening in the rest of the city. But there’s only one really large scale house in Toronto for not-for-profit theatre, and that is the Bluma Appel Theatre so we are still, as the company has always been, the major not-for-profit theatre company. I think that where I would distinguish our position today is that we are a resolutely contemporary company, so that we can say that maybe even in the country, we are the largest not-for-profit contemporary theatre company.  I’d include contemporary performing arts company. What we’re also doing now is film theatre, musicals, music and dance. It’s also sort of visual spectacle. So it’s got a mandate about any form that contemporary performing artists or contemporary performing directors are occupied with as the ‘meat’ of their expression for today.

Review: Tear The Curtain

(photo credit: Bruce Zinger)

A mindfuck...

or a live-action version of Lost?

by Dave Ross

Canadian Stage’s Tear the Curtain opened last night at the St. Lawrence Centre. It is no small secret that at least half of the production is presented as a movie. The film, shot over three weeks in Vancouver, is worked into a live theatre experience. The program for this play is among the most expansive I’ve seen, including a story synopsis, which I both appreciate and hate at the same time. It could leave one worrying about the play – if it can’t communicate its story through theatre, then what exactly are we in for?

What you’re in for is likely the most interesting theatre experience you’ll have this year. Visually, the show is amazing. Technically, the show is absolutely astounding. Story wise… well, you’ll just have to go and see this show to judge for yourself. 

Review: The Game of Love and Chance

Gil Garratt (photo credit: lucetg.com)

Taking Chances

Marivaux continues to seduce

by Jessica Yen

Hot on the heels of a month-long run at the Centaur Theatre, The Game of Love and Chance has finally arrived at the Bluma Appel Theatre in the St. Lawrence Centre for the Arts in Toronto. This close to 300 year old farce written by Marivaux and adapted and translated by Nicolas Billon will have you smiling in your seat. 

Review: The Game of Love and Chance

Gemma James-Smith and Gil Garratt (photo credit: lucetg.com)

Marivaudages

A play brought back to greatness

by Chris Lane

Once in a while a modern adaptation of an old text comes along that is both fresh and classic, and Centaur Theatre’s production of The Game of Love and Chance manages to be just that. The play was written in the 17th century by the French master Pierre de Marivaux, who is particularly known for the unique way he manipulates language. Local playwright Nicolas Billon has recently written a new translation of the work, and he succeeds at maintaining the playful wit of Marivaux’s words while making the language modern and accessible (and of course, English). The director, Matthew Jocelyn (artistic director of Toronto's Canadian Stage - where this production is headed), shows his expertise in adapting Marivaux’s work in this uproarious production.