A Fine Balance

Rohinton Mistry’s novel A Fine Balance is a complex, six hundred page long saga about events during the 1975-77 State of Emergency in India. Turning it into a coherent, stageable play is a considerable feat and Anosh Irani has managed that; even if the result is a long evening at the theatre. It’s actually pretty clever. Besides the ruthless elimination of minor characters and sub-plots he handles the principal characters’ back stories by dropping in bits of information all through the narrative that allow the audience to fill in details that are otherwise not made explicit. It’s efficient and effective.

So the story is condensed down to Dina (Zorana Sadiq), a widow, trying to get by by starting a garment sub-contracting business. She hires two tailors; Ishvar (Anand Rajaram) and his nephew Om (Ben Yoganathan), and they together with her PG, Maneck (Siddharth Sharma); the student son of an old friend, carry the plot supported by Husein Mdhavji and Sugoth Varughese playing multiple roles. It’s only as the play proceeds that we learn that Dina is Parsi and the tailors are Scheduled Caste/Dalit. Which is pretty important. There are all sorts of nuances of caste and creed at play here.

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Spring Awakening

Paolo Santalucia’s first production as Artistic Director of Soulpepper is a pretty bold choice. It’s Frank Wedekind’s 1891 drama Spring Awakening (Frühlings Erwachen) and it’s presented in English in Santalucia’s adaptation; not in the form of the Broadway musical adaptation which is probably better known in the anglosphere.

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Medusa intrigues but doesn’t entirely convince

Medusa, by Erin Shields, opened on Wednesday night at Soulpepper. It’s a really interesting piece brimming with ideas but I wasn’t completely convinced it worked. If I’d seen it at a workshop my reaction would have been very positive but also a feeling that there was still work to do. I wish I was smart enough to know what that might be!

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Echoes of the Underworld is immersive and engaging

Echoes of the Underworld, from choreographer Emily Cheung, poet Diana Tso and the Little Pear Garden Dance Company, transforms Campbell House into the Underworld where souls (i.e. us) are guided in small groups through different rooms of Campbell House for a very “in your face” encounter with ghosts, demons and other restless spirits.

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The Happenstancers at 21C

Regular readers will be familiar with the Happenstancers.  They are a shifting group of young musicians convened by Brad Cherwin who have been presenting innovative chamber music concerts in an assortment of venues for a few years now.  Last year Brad was selected to curate a concert for Soundstreams at the Jane Mallett Theatre which was very like a Happenstancers concert in many ways with the advantage of exposing the approach to a wider audience.  On Friday night they were back under their own flag at Temerty Theatre as part of the 21C festival.  Which is a long winded way of saying this is a very happening and innovative group who are emerging as a significant player in the Toronto chamber music scene.

Friday’s concert, as you would expect, consisted mostly of 21st century music but in line withe theme of “exploring the space between two people” and in typical Happenstancers’ style there was music from the Renaissace plus Schoenberg’s Verklärte Nacht.  The ensemble consisted of sopranos Danika Lorèn and Reilly Nelson, Julia Mirzoev, Russell iceberg and Christopher Whitley on violin, Hezekkiah Leung and Hee-See Yoon on viola, Peter Eom on cello and Brad Cherwin on clarinets with constantly changing combos across the evening. Continue reading →

Still waiting for Godot

It’s been 73 years since the first performance of Samuel Beckett’s Waiting for Godot and Vladimir and Estragon are still waiting.  The play though has become an established  icon of experimental 20th century theatre and millions of words have been written about it.  It’s currently running at Coal Mine Theatre in a production directed by Kelli Fox.  As far as I remember (and it’s been fifty years since I read the play) this production plays it straight and pretty much entirely according to the stage directions in the script.  The set is a tree and a bunch of dirt.  Nobody sits in a dust bin.  So everything turns on subtlety and timing which is quite a challenge.

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FLEX

Candrice Jones’ play FLEX got its Canadian premiere on Wednesday at Crow’s Theatre in a co-production with Obsidian Theatre.  It’s the late 1990s in small town Arkansas.  The creation of the WNBA has provided another reason for young women (especially African American women) to try for one of the few escape routes from life in a town where the main employer is a prison.  In the prison-industrial complex it’s a sports scholarship or the military.

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Confluencias

Flamenco is an interesting genre.  It’s journey from India to Southern Spain via the Middle East and North Africa means it has influenced everything from Hindustani classical music through just about the whole Islamic world to its influence on Western classical (imagine Carmen without flamenco) and across the pond to Argentina and tango.  Confluencias; a new Juno nominated album by Lara Wong and Melón Jimenez pays tribute to that global influence with a series of flamenco-jazz numbers inspired by that geographic spread.

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I Saw a New Heaven

wemmf-isawanewheavenThe second programme in this year’s West End Micro Music Festival had its first performance at Redeemer Lutheran on Friday night.  It was a mix of contemporary instrumental and vocal works with some unusual Hildegard von Bingen and some interesting lighting (Billy Wong) and staging.

First up was a set for Lenny Ranallo on electric guitar and soprano Danika Lorèn wrapped in a sheet.  It was certainly different, and surprisingly effective, to hear von Bingen on electric guitar.  This was followed by Danika singing Sofia Gubaidulina’s Aus den Visionen der Hildegard von Bingen with electronic backing.  This sets short fragments of german text and was presented with great precision.

Next was Cassandra Miller’s Perfect Offering.  This is scored for chamber ensemble (violins – Julia Mirzoev, David Baik; viola – Hezekiah Leung, cello – Peter Eom, flutes – Sara Constant, clarinets – Brad Cherwin, piano – Joonchung Cho with Simon Rivard conducting). It’s based on a peal of bells from a convent in France and is rather beautiful in a minimalist sort of way as you might expect fro something based on bells. Continue reading →

A brilliantly atmospheric Rosmersholm

Crow’s Theatre opened the season last night with a production of Ibsen’s Romersholm in an adaptation by Duncan Macmillan directed by Chris Abraham.  It’s not perhaps Ibsen’s best known play but it’s powerful and somewhat topically relevant and the production at Crow’s is excellent in every way.

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