Dancyn's 'The Laramie Project' is a poignant reminder hate can never be allowed to win

THE LARAMIE PROJECT by Moises Kaufman and members of the Tectonic Theater Project
DANCYN PRODUCTIONS
Executive Producer:  James Mansfield, Stage Manager:  Kit Bauldry with assistance from Kailey Kacaba and Nancy Cann, Director: Joan Mansfield
With: Gillian Campbell, Diana Chappell, Nicholas Ferron, Barb Grenier, Robert Herr, Mike Kutrowski, Meg Oxenholm, Kyle Robertson

As patrons of and participants in live theatrical productions in Durham Region, there is a line from the docudrama THE LARAMIE PROJECT that resonates with all of us:  “You have to say it right.  You have to say it correct.”  This is the challenge for any director and cast to make sure they say it right and say it correct no matter what art form is presented to the general public.

THE LARAMIE PROJECT is another ensemble ‘actor piece’ that many professional and non-professional performing artists would like to add to their resumes simply for the fact that, if done right and correct, its’ message is timeless.  LARAMIE draws on Mr. Kaufman and the Tectonic Project’s accounts of news reports, conversations with local residents and first hand accounts of events before and after this horrible hate crime of homophobia against the struggles and death of Matthew Shephard in Laramie, Wyoming for the reason of who he was.  When the play was first performed it was highly controversial, albeit powerful, as some of the language and dialogue is raw, hurtful, spiteful and vengeful.  As we move further into the twenty first century, this play becomes even more important as Mrs. Mansfield pointed out in her public address to the small audience before the performance began.

For her, in treating this story with poignant sensitivity, LARARMIE transcends ALL hatred and not just homophobia given the world in which we find ourselves right now. Heavy and risky stuff for an audience to consider especially on a Friday night, but kudos to the actors and crew who rehearsed the play in order to have it ready for Anti Bullying Week.

The semi-circular set design on the intimate Dnipro stage is intriguing to watch for actor entrances and exits.  For this particular production, every inch of the stage is used to its’ maximum.   The set design worked to allow a smooth transition for the actors and scene changes to unfold in this near three-hour production with intermission.  

Opening piano musical score by Chopin’s C Sharp Minor Waltz hauntingly underscored the empathetic directorial vision.  There were some beautiful tableaux moments created to heighten dramatic effect.  The first comes at the top of the show as the cast reconstructs the iconic buck wooden fence as they hum“Amazing Grace.”  Another moment occurs at the end of the production as all eight actors, with their backs to the audience, have their heads bowed in respectful prayer and a moment of silence for Matthew and for all victims of hate crimes everywhere.

Lighting and special effects are crucial in order for this play to have its tremendous impact.  The Dnipro Hall’s lighting is limited in this respect as the venue for many years was used solely for wedding celebrations, and for Durham Region’s weeklong Fiesta celebrations in June.  Nevertheless, DANCYN has not allowed this limitation to affect a performance standard.  Lighting designer, Zac Mansfield, has painstakingly and exhaustively worked tirelessly to ensure the best lighting design possible set by Joan’s directorial vision.

This enthusiastic troupe of actors, who are diverse in their age range and experience, are to be commended for tackling this highly charged drama, as the rehearsal process would have been challenging for its four-week period.  These individuals want to pay tremendous respect to the material and to acknowledge it was an awful event that occurred.  Once again, DANCYN is to be applauded for its’ mandate to ensure new faces and talent are seen on stage here in Durham, and I hope these people will return in future for other productions.  

There are moments where these eight performers are a true ensemble of players who listen, who watch, who hear and who respond accordingly given the context of a particular scene.   For example, the scene at the Fireside Bar where the patrons recount the last time Matthew Shepard was seen there before his disappearance heightened some of the dramatic intensity needed.

THE LARAMIE PROJECT continues this week at the Dnipro Hall and Theatre, 681 Dnipro Blvd in Oshawa.  Tickets ($20) may be purchased at the door (cash only) before the performance or online  Performance dates this week are Wednesday March 1 – Saturday March 4 inclusive at 8 pm with a final performance on Sunday March 5 at 2 pm.

Borelians' play, 'Vanya and Sonia and Masha and Spike' is a Chekov inspired comedy

VANYA AND SONIA AND MASHA AND SPIKE by Christopher Durang
BORELIANS COMMUNITY THEATRE
Produced by Kyle Brough and Helen Coughlin, Staged Managed by Liz Auston, Directed by John Lunman

Kudos to The Borelians of Port Perry once again for selecting another ‘actor play’ this season. Currently in performance until February 25 is Christopher Durang’s VANYA AND SONIA AND MASHA AND SPIKE, a quirky and absurd comedy especially if you have some knowledge of Anton Chekov’s dramatic masterpieces.  The names of the characters in VANYA come from some of the Russian playwright’s other works; however, to appreciate the humour of VANYA, you do not need to understand Chekhov’s style, but it would most certainly be advantageous in some of the context of this particular production.

VANYA is not an easy work to stage as there are layers of text and subtext of weirdness and oddity to decipher and to unravel.   As Director, John Lunman’s extensive background in the performing arts assists him tremendously in his journey to bring his cast to convey to audiences that VANYA is ‘a very human comedy of people who are trapped in their life choices; people afraid to follow their heart’s desires.’

Lorenz Werkmeister’s set design is an actor’s dream upon which to perform.  His construction team has worked diligently to create a visually pleasing room from every angle in the Town Hall auditorium.  Every inch of the stage is used for a specific purpose in this production. 

Helen Coughlin and Kyle Brough’s work in props, décor and sound design complement effectively the playing space for the actors.  Andre Grander’s lighting design is subtle while clearly focusing our attention on the central action of the scene. The use of music from the Beatles placed smiles on some of the faces of the audience, while a few of us either hummed or sang along quietly.

There are some delightful performance moments.  As Masha’s oversexed boy toy Spike, Kyle Dickie is considerable bravado while being very comfortable for appearing, at times, in his underwear.  His real life wife Justine appears as Nina, the sweet neighbour and up and coming actress, who inspires a highly charged lust in Spike.  

Ms. Dickie has a lovely and clear speaking voice.  We always root for Nina especially in those moments either where she reveals her fears to Vanya whom she affectionately calls ‘uncle’ or in those moments where she is eschewed by the jealous ‘has been’ actress and drama queen, Masha.  With those moments called for in the script where Nina and Spike are to ogle each other, I’m certain this husband and wife, and audience members in the know, have great fun in watching the sexual chemistry unfold.  

Alexandra Hines is Cassandra, the eccentric and very peculiar housekeeper for Vanya and Sonia, who constantly predicts direly what will happen in the future for many of the characters.  Ms. Hines is quite amusing to watch especially in those moments where Cassandra appears unexpectedly from nowhere for comic effect.

Critic Patrick Healy of The New York Times called this play ‘a black comedy about unhappy siblings’.  As the play opens, we are introduced to Vanya (Colin Murphy) and adopted sister, Sonia (Cheryl Tulloch) who appear gloomily to be content just to sit and, at times, do nothing.  Their pretentious sister who always craves an audience, Masha (Joanne Norman) returns home for a visit and announces that all three along with Spike, in tow, (and later with Nina) will attend a costume party at the house of the late writer Dorothy Parker who led a very tempestuous and sad life.  

When this information is revealed to the audience, it is here that a strong directorial vision of ‘absurd comedy’ is tantamount to the success of this play.  Attendance at this ‘costume party’ results in misunderstandings and miscomprehension for all involved.  Ms. Tulloch relishes in the moment of appearing as Maggie Smith as the Wicked Queen in Snow White.  Ms. Norman appears as Snow White who is hilariously mistaken by Nina as Norma Desmond from the film version of Sunset Blvd. Mr. Murphy appears as one of Snow White’s dwarves while trying to maintain peace amidst all of this confusion.

Mr. Murphy, Ms. Tulloch and Ms. Norman are accomplished local actors who render sufficiently good performances.  Nevertheless, there were moments from the first Saturday evening show where pacing falters especially in the second act where Mr. Murphy has to deliver a 3-4 page monologue.  This quibble might be for the fact the actors are tired as they and the crew are coming off their tech week along with a matinee performance earlier in the day.

This is only one area that will need some possible tightening up before performances continue again this coming week. The Borelians’ production is definitely worth seeing.  For the two and half hours, we are living our lives through these people, and we are most certainly glad we are not these people.

VANYA AND SONIA AND MASHA AND SPIKE continues February 23, 24 and 25 at 8 pm with a 2 pm matinee on February 25.  Tickets may be purchased at the box at Port Perry’s Town Hall 1873, 302 Queen Street.  For further information, please visit Borelians or the Town Hall site. 

Five Women Wearing the Same Dress is a peach of a play

FIVE WOMEN WEARING THE SAME DRESS by Alan Ball
AJAX COMMUNITY THEATRE
Produced by Mark and Sarah –Liis Salonius, Directed by Michael McFarland, Stage Managed by Dillon Hunter
With:  Mireille Awad-Arnberg , Sharon Berman, Linda Chapman, Sam Smilovic, Amber Dawn Vibert and Lincoln Trudeau.

To borrow a quote from the token male, Tripp, in FIVE WOMEN WEARING THE SAME DRESS, there is veritable ‘major babe action’ going on the stage at Ajax’s St. Francis Centre.  Yes, this line when taken out of context does sound sexist; however, writer Alan Ball has woven a complex series of life events into an engaging story line that keeps its audience hooked. Yes it is that same Alan Ball who penned two groundbreaking and phenomenal works – AMERICAN BEAUTY (with Kevin Spacey) and the televised series SIX FEET UNDER (where the I learned quickly the meaning of the term binge watch).

This play becomes a skewering commentary on the state of matrimony, and the Ajax Community Theatre has taken a risk in staging it last week and this coming week.  This risk was worth it.  ACT’s production has hit its’ stride, and you should go see it.  Be prepared and forewarned as salty language, naughty innuendo and adult situations abound aplenty.  

Director Michael McFarland likes the play’s premise.  The life moments of these characters are dissected and analyzed in the upstairs bedroom of an ostentatious wedding reception at a Knoxville estate.  Identically yet hideously clad in peach coloured bridesmaid dresses, these women are hiding out from the downstairs invited guests.  Mr. McFarland points out that women bond far quicker than men do in establishing relationships.  In order to make these relationships believable, he has cast five beautiful and talented local Durham Region ladies who, first and foremost, like and respect each other.  They have had a lot of experience in live theatre and understand clearly the intricacies of female relationships.

Another reason to see this production - these ladies are a true ensemble of actors who listen well and respond to each other credibly.  We see a catty and bitchy side to each character, and this makes for even more fun as the story clips along at a good pace.  The challenge of any live comedy is to find those peaks and valleys where you have that split second for a creative comic effect, and these ladies have been successful in discovering and sharing those moments with the audience.

Since I’ve never read or seen this play before, I was also intrigued by one dramatic moment where one of the particular characters makes reference to a sexual assault a few years ago.  I won’t give any spoilers, but this moment in the production slows down the quickened pace due to this delicate subject matter.  There was a hush over the audience as I think each of us wondered how this matter was going to resolve itself, as sexual assault is criminal.  I was impressed with how the actors involved treated this material with dignity, compassion and conviction before the comic pace picked up once again.

The arrival of one of the groomsmen, Tripp (played by Lincoln Trudeau) adds a further layer of character development to the plot.  Mr. Trudeau is a solid actor who also reveals his performance experience in his revealing scene with Trish (played by Mireille Awad-Arnberg).   Both actors handle the cut and thrust banter of word play with heightened sexual chemistry and build it to the point where we can sense that a consummation of some sort will take place in the near future.

I imagine a good deal of work would have had to be done on the Appalachian dialect of Tennessee.   Thankfully, Mr. McFarland and his cast did not create caricatures or stereotypes.  Lighting and sound cues are clear, crisp and exact.  The intimate stage at the St. Francis Centre allows for a specific set design that helps focus the action. Nevertheless, there is a quibble on the set design and construction. The shaking wall as doors close periodically breaks the focus that we are actually in a room of a grand Tennessee estate.  

FIVE WOMEN WEARING THE SAME DRESS continues this Thursday February 23, Friday February 24 and Saturday February 25 at Ajax’s St. Francis Centre, 78 Church Street South at 8 pm.  Tickets may be purchased at the door or visit the website for further information.

Catch Catch Me If You Can says Joe

CATCH ME IF YOU CAN, THE MUSICAL
WHITBY COURTHOUSE THEATRE
Produced by Rhonda Martin and Heather Doucette, Vocal Coaching by Neva Deely, Choreography by Baiba Senecal, Direction by Erastus Burley

The film version of CATCH ME IF YOU CAN raked in big bucks in 2002.  With a cast headed by Tom Hanks as FBI agent Carl Hanratty and Leonardo Di Caprio as con man Frank Abagnale Jr, it was obvious the film was box office gold.  When I had heard this musical was in West Coast previews a couple of years later with a scheduled New York opening, I grimaced.  Sometimes, I get tired of hearing about good films that are adapted into live theatre musicals.

I flew to New York about four months after the original New York company opened the production at the Neil Simon Theatre.  Surprisingly, I enjoyed it and was proven wrong.  And yet, would or could any community theatre ever produce this show on account of what I assume would be astronomically high budget costs?

Whether the budget was high for this one or not, there was much to enjoy from this opening, wintry February night at The Whitby Courthouse Theatre.   Director Erastus Burley has a great fondness and affection for this show.   The vibrant and energetic enthusiasm on that stage (credited to Mr. Burley) will most certainly have to be controlled by a regimented stage management team, headed by Heather Doucette, who have the important job of ensuring locales and set pieces are placed in a timely manner.  The projection screen did help to establish a number of places. A few times, there were moments when the pace slowed considerably as furniture pieces were placed.

 The chic look, the in vogue fashion and the sophisticated flair of the 60s were evoked everywhere especially in the rich colours of the costumes.  The Pan Am flight uniforms were only one reminder of just how much work has gone into this production.

Greg Poulin’s lighting design was concise and controlled.  There were a few moments where some cues weren’t picked up as quickly as they should have been.  As performances continue, I’m sure these miscues will be restored.

Burley’s scenic design uses every minute space on the WCT stage.  At times, from my seat in the house, it appears congested as a good deal of the action is played downstage in order to allow the band to play over the performers.  Thank you for allowing me to check post performance so I could verify that, yes, it is deceiving from certain seats in the house.   Every inch of that stage and auditorium is utilized to its maximum effect.

CATCH ME is staged as a musical revue since the 60s televised the shows of such luminaries as Mitch Miller and Dean Martin.  For the most part, the band (led by Nick Denis) underscored nicely the ensemble and solo numbers so these clever lyrics could be heard.  There were a few moments where the band overpowered the singers, but I’m sure this minor quibble in musical balance will be amended as performances continue.  Some of the solo lines by ensemble members sounded off key, so attention will have to be paid in this respect.  Baiba Senecal’s choreography is stylized and entertaining to watch.  Another quibble – some members of the ensemble in the back row were having difficulty keeping in time while members of the front row were rockin’ the moves.  

There are entertaining and delightful performances.  The seventeen-member ensemble (which includes the FBI agents) is youthful, passionate and dynamic in the variety of roles played.  As Brenda Strong, Frank’s soon to be fiancée, Abigail Denardis plays the young ingénue with tremendous sweetness.  Ms. Denardis has a lovely singing voice and her solo “Fly, Fly Away” brought down the house (not to mention brought a few tears to the eyes).

Tom Lynch and Kelley B. Dewey play the young Frank’s parents, Frank Sr. and Paula Abagnale.  His mother has clearly influenced the young Frank’s eye for the ladies as she was a looker. Ms. Dewey plays Paula with subtle sex appeal and vulnerability.  As Frank’s smooth talking father, Tom Lynch is a devilish con artist himself who has a tremendous passion for both looking and feeling good and has passed this trait to his son.  Mr. Lynch commands the stage in his moments with dramatic precision one minute while revealing his sadness and vulnerability in the second act.

Mark Rittinger and Kathy Knight make an adorable Southern couple as Brenda’s parents, Roger and Carol Strong.  Their song “Our Family Tree” is tremendous fun to watch and to hear.

What is truly admirable in this WCT production are the performances of the two leads who complement each other extremely well.  Both gentlemen hold considerable stamina for this show as neither of them leaves the stage for very long.  Brian Hargan plays the tough as nails, Joe Friday(ish) Carl Hanratty with zest and fervor while not being afraid to reveal his fears and inadequacies.  Charlie Davidson brings charm and magnetism as Frank Abagnale, Jr.  Mr. Davidson is clearly physically fit to tackle the demands of this role as he sings and dances with much gusto one minute while breaking many hearts the next.

CATCH ME IF YOU CAN continues at the Whitby Courthouse Theatre in the Whitby Centennial Building, 416 Centre Street South.  Remaining performances from February 16 – 18 and 23-25 are sold out, but you might be able to get a possible single seat.  Additionally, check the box office for any returns.  Telephone 905-668-8111 or visit whitbytheatre.org for further information.

The Simcoe Mall, vaulting into the future of Downtown Oshawa

I took a wander around downtown this afternoon. It is rather dismal to be honest but hey its February. There are some bright spots however. I dropped into the old stomping ground, used to be The Vault, it is now The Simcoe Mall and I would recommend it for a stop-in. It has to be the best smelling flea-market I've been in ever and its bright, clean and full of enthusiastic entrepreneurs running their own booths.

I spoke with a chap who identified himself as John, he runs G&G Music Memorabilia. He says he is under no illusions about the location and the social issues the downtown faces but he says there has been an uptick in his business. He has a very fine collection of music and movies in all formats as well as the merchandise, Elvis, KISS, Rolling Stones etc.

It was gratifying to see the building still in use, those of us involved in The Vault put a lot of time, thought and effort into keeping the doors open for the year it ran. A crowd of young folk took it over afterwards and did a fine job with it. They built it up to a point where the folks behind the Simcoe Mall could envision it as a place where they could invest for their the future.

So if you happen to wander downtown, take the time to visit the Mall, say hi and maybe even buy something - best collection of music/concert DVDs I've seen thats for sure.