So it was back to the Bluma Appel on Thursday evening to see part 2 of Matthew López’ The Inheritance. Part 1 had certainly left plenty of active plot lines to be resolved (or not) so it looked like being an interesting ride.
Matthew López’ The Inheritance is an epic adaptation of EM Forster’s Howard’s End. It’s epic in scale and scope. It runs for two evenings; each over three hours long and it features a rich, and sometimes bewildering, cast of characters. I was going to wait until after part 2 before writing about it but I actually think it will work better to review it in two parts. So here is part 1 as seen on opening night (Wednesday) at the Bluma Appel Theatre.
Charlie Petch’s No One’s Special at the Hot Dog Cart is a one man show about his experiences as a hot dog vendor in Toronto and his subsequent life working as a 911 dispatcher, on the front desk of an ER and as a hospital bed allocator. It’s currently being presented by Theatre Passe Muraille and Erroneous Productions.
Collage and poster design by Emily Jung | Pictured: Charlie Petch
Dana H, by Lucas Hnath, is a rather unusual piece of theatre. The sole actor, Jordan Baker, lip synchs to tapes of Dana Higginbotham (Lucas’ mother) being interviewed by Steve Cosson. In these interviews she relates the events of five months of her life where she was kidnapped and held prisoner by a psychotic member of a racist criminal gang.
Mohammd Yaghoubi’s Earworm, currently playing in the Studio Theatre at Crow’s, is a hard hitting story of what the Islamic Revolution has meant for Iranian women. Unfortunately it hangs onto to more ideas than the narrative can comfortably support which diffuses the impact.
I really wasn’t sure what to expect from DION; A Rock Opera, currently premiering at Coal Mine Theatre. It’s billed as a “rock opera” which worried me as very loud music in. a very small space is so not my thing. On the other hand it’s based on Euripides The Bacchae and I’m a sucker for a really good reworking of classical Greek drama. So I went. It was absolutely the right decision. This show rocks in an entirely good way.
Aluna Theatre’s production of Jorgelina Cerritos’ On the Other Side of the Sea (translated from Spanish by Dr. Margaret Stanton and Anna Donko) opened at The Theatre Centre last night. Cerritos is from El Salvador and the play is set on a beach somewhere in that part of the world. There are two characters (three if you count the sea). Dorothea is a no longer young civil servant sent from the capital to a remote fishing village to issue birth certificates, ID cards and the like. Every day she sets up her desk on the beach but she has no clients until the Fisherman arrives. He has come from the Other Side of the Sea in his rowing boat. He needs a birth certificate; “something that shows who he is”, but has none of the information needed for Dorothea to issue one. She gets angry at his bugging her day after day; especially as he is her only client and she can’t do anything for him. They quibble about the possibility of names (he wants his ID to read “Fisherman OftheSea”) and argue the finer points of grammar concerning what may, or may not be, possible. This is often very funny but it doesn’t seem to be going anywhere.
De Profundis: Oscar Wilde in Jail is an adaptation by Gregory Prest of the famous letter that Wilde wrote, page by page, to Lord Alfred Douglas while he was in prison. It opened; a world premiere, last night in a Soulpepper production directed by Prest at the Young Centre.
Joanna Murray-Smith’s 2009 play Rockabye is currently playing at Factory Theatre in a production directed by Rob Kempson. It’s an odd play. Ostensibly it’s about an aging rock singer; Sidney Jones (played by Deborah Drakeford), who hasn’t achieved much for 20+ years and desperately needs her come back album to be a success before she’s written off as a has been. She’s also obsessed with adopting an African baby. We’ll come back to that. She’s at the centre of a coterie of personal staffers and hangers on who are almost as shallow and self obsessed as she is. There’s the manager; Alfie (Sergio di Zio) endlessly congratulating himself on sticking with Sidney rather than taking on a “hot sixteen year old”. There’s boy-toy Jolyon (Nabil Trabousi) who has curtain phobia, a U-boat fetish and a big dick. Sidney’s every wish is the concern of her plummy lesbian publicist Julia (Julie Lumsden) who races around to locate the absolutely vital Peruvian wheatgerm or to send to Uzbekistan for a swatch of cloth to repair a button. Only the cook/maid Esme (Kyra Harper) seems to have any connection to reality.
The Shadow Whose Prey the Hunter Becomes (I’m going to abbreviate this to Shadow) is a theatre work created by Geelong based collective Back to Back Theatre. It’s currently playing at the Berkeley Street Theatre as part of Canadian Stage’s season. Back to Back is an unusual company. Its actors all have perceived intellectual disabilities but, collectively, they have created theatre that has been seen on stages all over the world, on film and on television.
operaramblings 