A Play in Two Halves

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.

Christopher Allen and Kyra Harper_Rockabye - ARC_Sam Moffatt

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Martyr

ARC’s production of Marius von Mayenburg’s 2012 play Martyr opened at the Aki Studio last night.  It’s presented in an English translation by Maja Zade and directed by Rob Kempson.  I think it’s more than a just a direct German to English translation.  names have been changed for instance and there are definite shifts in directorial approach from the Berlin production.  I think the best way to understand what this is all about is to start with the original German version and how it may have looked to a Berlin audience and then look at how time, space and directorial decisions may affect audience reception.

1. Nabil Traboulsi and Adriano Reis_MARTYR_ARC 2023 Photographer_ Sam Moffatt

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Electric Messiah – 2022 edition

This was the seventh time I’ve seen Soundstream’s Electric Messiah.  It’s different every time of course but some things stay, more or less, as features.  The biggest change this year is the shift from the Drake Underground to Crow’s Theatre.  It’s staged as a conventional proscenium arch type show with the audience sitting in tiered rows facing the stage rather than being set up night club style.  There’s no bar in the actual performance space but you can still take a drink to your seat.  The drinks are cheaper than at the Drake too!

Electric Messiah

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Electric Messiah 2020

The sixth iteration of Soundstreams’ Electric Messiah unsurprisingly morphed from a live show in the intimate setting of the Drake Underground to a streamed video recorded on location in various places in Toronto.  There is much that was the same as previously and some interesting differences.  The selection of arias and choruses is very similar to previous years starting with “Comfort Ye”; arranged for all four singers and finishing up with “Hallelujah”.

1.evryvalley

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