#HamiltonOntario theatre

[steelcityreviews]

REVIEW: Oh, the Places You'll Go - HTI's "Seussical" is a Whimsical Delight for All Ages

Seussical the musical is a contemporary re-imagining of Dr. Seuss' beloved characters and their stories of friendship, integrity and love. The musical comedy shapes the witty, wild and whimsical world of Dr. Seuss and opens the doors wide for imaginations of all ages. The show has a rocky history of being known for its misdirected design elements, stunt casting, lackluster script and being one of the biggest Broadway flops of all time. With that reputation, it was difficult to imagine it would have life once it closed on Broadway. However, once the rights were available for regional, community and school productions, Seussical found life once again and is now considered an endearing, albeit flawed, part of the musical theatre catalogue.

HTI embraces the production with a high energy cast and a real love and respect for the world of Dr. Seuss and the stories we have all grown up with. From the deviously charming Cat in the Hat to the honourable Horton and the lovelorn Gertrude McFuzz, the cast is full of recognizable characters who come together and take the audience on a delightful romp throughout the pastel-infused jungles and beyond to help a small nation of Whovians be heard by all.

Director Joshua Arcari has made some fantastic design and casting choices for this production. The set design appears simple and straightforward but then the backdrop (built accordion style) changes as the scenes change. This is the first time I have seen this kind of design element implemented on a community theatre stage and it is truly magical to see it (literally) unfold. The set and several of the props are beautifully illustrated in the Seussian style with bright pastels and the keen eyes of the enormous painting team have transformed the stage into a world of whimsy and warmth. Likewise, the costume design by the trio of Hamilton Muses was impressive. Their combined efforts of creating functional yet unique costumes for each character really stood out in this production and helped coax the audience's imaginations to believe these actors were elephants, birds and more. Clever and creative work by all involved.

Arcari has also worked hard to ensure this large cast is utilized effectively and alongside his choreography team Katlyn Alcock and Erika Bennett, have created some great moments with unexpected acrobatics and lifts throughout. The ensemble, as per usual with HTI, supports and allows the more seasoned performers their moments to shine while never fading into the background themselves. From monkeys to birds to the delightful Whovian people, they are all there for one another on and off stage and that is what helps this production to translate from script to stage as well as it does.

Musically, the songs are nothing groundbreaking but they do carry the messages within them effectively. The band is led with great enthusiasm by Musical Director Jennifer Ferreira who worked with the cast to ensure the pacing and sound levels were not overpowering anyone on stage which did not go unnoticed. The music itself is energetic and flows well from one song to the next. The music artistry and talent at HTI is never lacking and this band is no exception.

The standouts in this production are hard to narrow down. Newcomer Emma Grace Stead portrays the young protagonist JoJo with just enough sass and charm to win us over immediately. Her vocals are strong and she showcases some great range in songs It's Possible and Alone in the Universe. She even surprises us all with her belting during The People versus Horton the Elephant. Craig Winterburn is a dedicated and empathetic Horton who we root for the entire show. He has some wonderful moments in both versions of Alone in the Universe and his melancholic lullaby Solla Sollew. Chantal Furtado raises the roof with her ability to riff and belt as the Aretha Franklin-esque haughty Sour Kangaroo (and her young Kangaroo played by Penny McKay, being the youngest cast member on stage, definitely shows real potential for a future in musical theatre).

Further standouts include Melissa Kuipers as Gertrude McFuzz who fully commits to her character and stuns us with her vocal range and, despite her character's timid portrayal, is truly captivating every time she is on stage (big tail or no!) The General (a commanding performance by David Gibel) was a force to be reckoned with and was one of the most enjoyable antagonists I have seen staged. The flirty, slightly antagonistic and irresponsible Mayzie LaBird is played with sass and confidence by Allison Dickson. Finally, the mayoral couple of Paddy Skinner and Alissa Jambrovic are equally charming and are delightful personalities on stage.

But what of the Cat? The Cat in the Hat? Portrayed with absolute joy, wit, and powerhouse vocals is Jacob Rushton. Rushton leads with over 15 years of theatrical experience and it shows. He engages us from the start and has several moments of hilarious audience interaction throughout (another clever decision to use audience participation to engage and delight the younger audience members). This is the role that truly makes or breaks Seussical, and Rushton makes this mischievous character his own while staying true to the Cat's classic antics. He is the very definition of what it means to be a lead and this production is elevated by his abilities and skills. Bravo.

Seussical is not a deep musical. It's not meant to be. Despite its script being simple, it manages to carry the morals of its original source material and provides great reminders to audience members of all ages that you should always be true to yourself, be honourable and, as was reiterated numerous times throughout, that a person is a person, no matter how small. Families will especially enjoy this outing to HTI (watching this show among several young people gave this reviewer some wonderful, unprompted insight into how enjoyable they found it) but anyone who loves these classic stories and characters will find the charm and whimsy of this production in spades. Oh, the places you'll go in Hamilton, Ontario! Don't miss it.

For tickets and more information, please visit: https://hamiltontheatre.com/tickets/

Photography by: Joshua Arcari

[trueresident-blog]

The remainder of Lester Coloma's excellent art piece on the former Tivoli theatre site.⠀ ⠀ #lestercoloma #streetart #jamesstreet #jamesstn #TrueResident #rediscoverlocal #beproudofyourcity #supportlocal #lovelocal #HamOnt #myhamont #905 #Hamilton #hamiltonian #hammertown #thehammer #hamiltonontario #exploreontario #loveyourcity #ambitiouscity #hamiltonlove #hamontlove #SteelTownStreets #ThisIsMyHamont #goexploring #instagood #igdaily #daily (at James Street North)

[steelcityreviews]

REVIEW: BURN holds a suspenseful and fiery grip at The Players' Guild

What makes a ghost story successful? Is it the carefully planned, unnerving amount of tension as you feel the hairs on the back of your neck shoot up? Is it the mystery of who's, where's and why's? Is it the revelations and twists leading you to discover the call is actually coming from inside the house? John Muggleton's play Burn has all of these recognizable elements and more. With a keen understanding of the subject matter and a skillful ensemble cast, director Matthew Willson weaves these elements together to create a fiery and grippingly successful production at The Players' Guild.

This show bursts into life with great energy, even during the pre-show, as three friends reunite in the wake of another friend’s death. It’s quickly established that their familiarity with each other has a sense of estrangement attached. They are waiting for their deceased friend's daughter to arrive and when she does, there is a growing suspicion that she may not be who she appears to be. The audience is immediately drawn into a socially friendly situation on the surface, with unsettling elements and intrigue lurking beneath. 

Director Matthew Willson is no stranger to the mysterious and unnerving, having directed The Humans at Dundas Little Theatre in recent years and is completely in his element with the disturbing and darker aspects within Burn. His casting is top notch with the naturalistic and layered performances from everyone on stage. James Vezina is a standout as Robert, who portrays the character with an increasing sense of suspicion and dread. Peter Gruner excels as David; a somewhat pretentious and haughty addition to the friend circle. Gruner does a great job of working out what's going on, his mind always piecing together the story and is believable throughout. Ilene Elkaim is a skillful actor in the role of Samira (Sam), who is definitely the most grounded, no nonsense mediator within the group.

And last, but certainly not least, is Rebecca Durance-Hine as Eve, the estranged daughter and infiltrator of the group of friends. Durance-Hine has always excelled in every role I have seen her play and this is no exception. Her way of relishing the text and captivating us with her storytelling is truly astounding work. She mixes unease, mistrust and unreliability to perfection and we, much like the trio of friends, are drawn in with her every word. She is a storyteller of the highest caliber. Bravo.

Without spoiling much here, the playwriting itself is strong, melding contemporary thriller elements with a classic ghost story. There's plenty for the audience to pick up on from diegetic music cues (which were, at times, distracting from the tension being created on stage) and the massive amount of meaningful props on the impressive set design by Trevor McAnuff and team. Look around and see flames, a checkmate match, stolen trinkets and boxes upon boxes of stories surrounding them. The set lends itself to that lived in, seemingly safe and comfortable environment that harbours more than one harrowing secret. It is a pleasure to see the care and creative influences thrive here in this way as it adds even more to an already compelling story unfolding before us.

Burn leaves us with perhaps more questions than it answers but the twists and discoveries made the packed matinee audience whisper, gasp and shuffle nervously in the seats on multiple occasions. There's enough moments of levity too but I advise you not to trust them. Burn's greatest success comes from this small but stellar cast and a director who loves to see his audience squirm with uncertainty and make us beg for more. Go catch this production at the Players' Guild running now until June 15 and let this inferno of mystery and thrills consume you.

For tickets and more information, please visit:

Pre Show of BURN.... Cast (L-R): Peter Gruner as David, James Vezina as Robert and Ilene Elkaim as Samira Photo taken by: Steel City Reviews

[steelcityreviews]

REVIEW: HTI's THE PROM - Full of Unruly Hearts and an Enduring Message

Most of us grew up with very extravagant visions of what prom was: a huge spectacle of gowns, tuxes, impractical shoes and, of course, an enormous dance number that everyone, somehow, knew the choreography to. In reality, you realize it was just easier to enjoy being with your friends on the dance floor, choreography free, than worrying about dates and corsages.

But for some, especially as the need for inclusivity is of utmost importance, the prom can become a political statement and one that still is subjected to scrutiny in more conservative places across the world. Sometimes, those political statements become inspiration for musicals. Such is the case with HTI's greater Hamilton and Toronto debut of the Drama Desk award winning musical, The Prom.

The Prom follows four Broadway actors lamenting their days of fame, as they travel to the conservative town of Edgewater, Indiana, to help a lesbian student banned from bringing her girlfriend to high school prom. The concept of the musical was inspired by real-life events in 2010 when a lesbian student was banned from their prom and when challenged, the town's board banned the prom all together. There was celebrity support for the teen to be able to attend prom and in the end, a "Second-Chance" prom was sponsored by various celebrities including the band Green Day and former N*SYNC member Lance Bass.

The cast and production team is full of newcomers which is wonderful to see. The Prom is a wise choice for newcomers as the show is not musically overwhelming and focuses more, thankfully, on its story rather than songs. The songs themselves are fine but with the exceptions of Tonight Belongs to You, Love Thy Neighbour and Unruly Heart, are nothing special and are only really used to drive the plot forward.

Our protagonist Emma, played endearingly by Cecelia MacDonald, is a standout. Their introduction song immediately makes us root for them and when their heart breaks, we feel it deeply. Equally matched is Emma's closeted partner Alyssa (played with believable and sweet uncertainty by Sarah Gazzola). Alyssa showcases the realistic battle between wanting to be who she is and fighting the pressures society and family weighing her down. There are some moments between these two that almost falls into melodramatic territory but thankfully, they overcome those urges by grounding themselves in the realities of their scenes together.

[Photo: Cecelia MacDonald as Emma (left) and Sarah Gazzola as Alyssa (right)]

Two other standouts of The Prom are found in newcomers Nathan Farmer as one of the "washed up" and struggling actors Trent Oliver and the underutilized but effortlessly entertaining Oviya Sivakkumaran as long-legged, Fosse loving Angie. Both actors are delightful every moment they are on stage and really own their numbers. They are in on all of the theatre in-jokes within their songs and play them large and as loud as the ongoing sound mixing issues will allow them. Farmer especially shines with his comedic timing and his hilariously lofty ego. There is also a wonderful sense of mentorship between Farmer and the young cast members in the upbeat Godspell-inspired Love Thy Neighbour (and a hilarious Steve Buscemi-esque in 30 Rock costume nod which I appreciated immensely). What a gem.

Speaking of gems, Matthew Moore, a veteran of HTI and beyond, shines as bright as his sequined costumes as Barry Glickman. His well-rounded talents allow him to disappear into this flamboyant and mentoring role. At first, his intentions are as selfish as the other Broadway actors, but his change of heart is very authentic and his moments with Emma are especially genuine and touching. This show needed Moore's skillsets and stage experience more than anyone could have imagined. Bravo.

[Photo: Adult Ensemble - L-R - Nathan Farmer, Rachel Kuipery, Matthew Moore, Oviya Sivakkumaran, Harriet Rice and Garry Graham]

HTI's production of The Prom definitely has a great deal of heart, thanks, in large part, to its cast of characters but it seems to lack pride in several facets of its production design and staging. Having seen over two decades of shows on the small but transformative stage, it was disheartening to see how bland and uninspiring the design elements were throughout. The backdrop remains as the high school hallway for the entire show and distracts from the other settings within the show. There are also some very odd choices for set changes while actors are performing their musical numbers and despite their best efforts, nothing feels exciting and fun until the finale and a disco ball and a rainbow balloon banner can only provide so much joy.

Sadly, the sound levels and projection of the bulk of the cast is also an ongoing issue throughout. Sitting front row and straining to hear actors who are singing about their ability to belt is awkward to say the least. There are several moments where the band and actors are not working in tandem and only the confident performers can keep up. There is definitely a huge gap between the solidly acted dramatic scenes and the vocal strain in the musical numbers many are facing and hopefully, these aspects can be taken into consideration for the rest of the production's run.

HTI's production of The Prom, plays it safe overall with a new director and many new production team members. This experience will hopefully provide some learning experience for this troupe and allow for future opportunities to take risks and excel in them. While the production doesn't offer anything new or groundbreaking, it does come with a crucially important message: that we should all be proud of who we are, and we should all be free to love whoever we want to. The show has plenty of funny and endearing elements that will be appreciated by theatre goers. Go and bring your prom dates and remember the importance and relevance of its overall message. It remains important now and always.

[Photos: Cecelia MacDonald (above) and The Cast of The Prom]

FOR TICKETS AND MORE INFORMATION, please visit: https://hamiltontheatre.com/tickets/ or scan the QR code below!

Photography by: Kreations Photography

[steelcityreviews]

REVIEW: Theatre Ancaster's CABARET: A Powerhouse Production

Dark. Brooding. Atmospheric. As the audience entered the vast auditorium of Theatre Ancaster, there was an immediate sense of something forbidden and enticing we were about to witness. That feeling that we were privy to a seedy club where we could leave our troubles behind and watch beautiful people dance, entertain and enrapture us for a few hours. How right these feelings were and also, how foolish to think that’s all we were about to witness. 

The magnificent orchestra welcomes us with a coy vamp as eccentric and scantily clad performers of the infamous Kit Kat Klub take the stage. Our Master of Ceremonies (Emcee) beams at the audience like they have a very dirty secret and they can’t wait to tell us: Welcome to the Cabaret. You aren’t ready for what we have to show you.

Once I saw the diversity, body positivity, vocal prowess and cast of characters who were dripping with sensuality and giving it their all in the first ten minutes, I knew that this show was going to be something very special. 

Director Nupi Gokhale explained the importance of socially responsible theatre especially in our current political climate. Why Cabaret? Why does this particular musical still resonate so much when its subject matter is about Depression Era Germany? Look carefully and open any legitimate news source and you’ll see why. The themes of sexuality, political discourse, heinous acts of hatred, poverty and deciding whether or not to be unaffected or to escape (if your privilege allows) are as relevant now as they were almost a hundred years ago. That speaks volumes to the lasting impact of Cabaret and why it has been so successful throughout its long musical theatre history. The entire production team, under the skillful and precise direction of Gokhale, understood this and ensured the audience would never forget it.

Back to the show itself. Our Emcee is performed by the incredible Riley Daniel Macnab who is commanding, coy and in absolute control in the first act. Macnab watches gleefully with just a touch of playful malice throughout every scene, even when they are not the focal point. A talented dancer with a phenomenal tenor voice, Macnab wowed audiences in the first act especially in the opening number Willkommen, Two Ladies (joined by equally impressive ensemble members and a see-saw in a gender-bent romp on stage and through the audience), Money and then broke them in the second act with numbers such as I Don’t Care Much and of course, the dissonant and chilling Finale. Their dehumanization was displayed so powerfully that by the end of the show, I was in tears (and I do not cry publicly). An absolute powerhouse performance.

Our other leads and supporting characters also showcase impressive amounts of talent. Our lost and aspiring writer, thrown into a world he doesn’t quite understand, Cliff Bradshaw is portrayed by Owen Lapsley who not only acts as the audience’s counterpart throughout but Lapsley also designed the immense and stunning set pieces and was involved in several other aspects of the show’s overall production. Lapsley is very well cast here with a great understanding for the nuances in his performance and explores his sexuality in a way that respects queerness, especially by today’s standards. 

His complete opposite is the charismatic, manic and breathtaking Giselle Magie as Sally Bowles. In a refreshing change, Magie does not emulate the Sally Bowles of the past (Minelli, Richardson) but captivates us with her unique interpretation of Sally’s naivety, hopeful vulnerability, lust for life and complete desperation by the time she performs the eleven o’clock number and title song Cabaret. Magie was meant for the stage and this role cements that. Her dynamic and chemistry with Lapsley is believable but ultimately, tenuous. Their romance in the second act is shattered by the dramatic turn of events and how Sally’s clinging to the past will ultimately bring her demise. Both performances at the end are heartbreaking and deserved every moment of applause from the audience. 

Continuing through our cast of characters are the slightly more subdued but realistic characters of doomed couple Fraulein Schneider (performed by Laura Almeida) and Herr Schulz (performed by Bailey Robb). These two exude endearing charm and a sweet romance in songs like Couldn’t Please Me More and Married. These moments are then crushed by the growing threats surrounding them. Their story is less flashy but is absolutely gut-wrenching as Schneider belts out about needing to survive even if it means sacrificing her love in What Would You Do? Powerful stuff.

Finally, I would be completely remiss to not give the highest praise to the supporting cast and phenomenal ensemble and crew. Fraulein Kost (Andrea Bairdado) is a delightful wench with beautiful solo moments in Married and Tomorrow Belongs to Me (reprise). Herr Ernst (Rylie Santo) is a carefully constructed and fist-clenching villain. The ensemble is jaw-droppingly impressive with their deep respect to Fosse and the precise choreography that made the movie version so memorable (their staging of Mein Herr was perfection). There are even unexpected moments of acrobatics, ballet and tap throughout. It is very sensual, raunchy and the amount of trust these dancers place in one another is incredible. Their vocals added chills to numbers such as Tomorrow Belongs to Me (both versions) and the combined efforts of cast and crew ensured every set piece was moved quickly and despite a few snags, very effectively. The entire production should be proud of all their efforts in bringing this show to the stage. 

If it wasn’t obvious by now, Cabaret has a deep significance in my life. I have seen numerous productions over the years and each one (including one I stage managed in 2008), has a special place in my heart. The story, the music/lyrics, the politics, and the showmanship are just a few reasons why this show is as successful as it is. It carries with it a history that refuses to be forgotten and each interpretation of the show has gravitas and weight that will stay with an audience long after the lights snap out on stage. I cannot stress how much audiences need to experience the joys and heartbreaks of Theatre Ancaster’s Cabaret. I feel compelled to see it at least once more during its run. Go to the Cabaret, old chums. Life is truly a cabaret. 

For tickets and more information, please visit: https://theatreancaster.com/shows/cabaret/

[steelcityreviews]

REVIEW: CCPAC's INTO THE WOODS  an ambitious journey into a Sondheim classic... 

Curtain Call Performing Arts has chosen an ambitious and beloved Stephen Sondheim musical for their season finale with Into the Woods. The musical intertwines the plots of several Brothers Grimm fairy tales and explores the consequences of wishing for a happily ever after. 

Often, fairy tale characters don't feel the weight of their actions' consequences. They do as they're told, and their wishes fall into their laps. Into the Woods cleverly emphasizes that this results in characters who are equal parts discontent and who don't understand the importance of their responsibilities. 

In a mere seven weeks (an impressive feat), the company beckons the audience to join them on their journey into a beautifully designed set that is both enticing and foreboding. It certainly set the tone as the audience wowed set designer's Zachary Viola's artistry on stage. Once the audience enters the woods, we find a production that is far from perfect but remains consistently professional and full of potential.

Our unreliable and cheeky Narrator (played by Abigail Henry who truly lights up the stage with their presence) introduces our main players and gives insight into their hopes and dreams, ranging from practical to wistful to downright absurd. It is a large, frequently transitioning cast and considering the constraints of HTI's studio theatre, they manage to block the opening number quite well with limited issues throughout. 

There's a wonderful mix of diversity in newcomers and familiar Curtain Call alumni alike and the wealth of talent, budding and established, is what makes this show special. The more experienced cast members work effortlessly to cover up any minor fumbles, especially when they are all at the mercy of a pre-recorded score which allows next to no room for error. Sondheim is renowned for challenging material (especially lyrically) for even the strongest performers so when you lose yourself, it takes great strength to come back from a slip up or sour harmony. The cast received well earned applause for being so dedicated to the material and their comradery on stage.

Some of the standout performances come from the Baker's Wife (a perfectly cast Nicole Martin who performed with huge range of believable emotion), Jack (an impressive and endearing Alexander Gonsalves), Cinderella's Prince (played by Justus Alexander who chewed the scenery with great comedic timing and had the audience in the palm of their royal and, at times, wolfy hand), and the Witch (an intensely dedicated Layne McKellar whose Witch’s Rap in the Prologue earned applause mid-song).

One of the production's greatest setbacks was the sound. I empathize with how intense the sound controls must be when micing a large cast with several one liners. The music tracks were often too loud, drowning out anyone who was not miced and we strained to hear them even when they were. This takes us out of the fantasy too frequently and like with all musicals, the lesson here is never rely on your mic and be sure you know how to project. This was demonstrated by the Witch and Narrator most often, who showed great skill pushing through their difficult numbers even when their mics had issues. That dedication to remaining professional embodies what this company set out to accomplish in such a limited time and the entire company deserves recognition for it. 

The show is a treat for the eyes with careful consideration from the production team toward costuming, lighting, atmosphere and even interpretative creatures such as birds, horses and trees. I would have loved to see more nature incorporated into the interpretive dances such as using branches to be more tree-like but as it is, those aspects were well performed without being too silly. I appreciated the interpretation and how the dance ensemble was utilized. 

Into the Woods is quite a musical adventure with a gauntlet of emotion coursing through it. The cast succeeds in so many ways and their enthusiasm, characterization and skill sets prove that even a musical notorious for its challenging staging and lyrics is a truly rewarding experience for young professionals. 

There are limited seats available for their remaining performances Friday August 11 and Saturday August 12 so pack up a basket, stay on the path, avoid wolves and giants and join CCPAC on their final journey this season!

Photography by: Kreations Photography

For tickets and more information, please visit: Box Office - CCPAC (curtaincallpac.ca)

[steelcityreviews]

REVIEW: Myth of the Ostrich

Dundas Little Theatre's latest production, Myth of the Ostrich, is a refreshing and hilarious situational comedy from Canadian playwright Matt Murray. The show previously appeared at the 2014 Toronto Fringe Festival and made its main stage debut at the Royal Manitoba Theatre Centre in 2016 to great acclaim. That acclaim continues here as a nearly full house at Dundas Little Theatre spent the evening laughing, gasping at numerous realizations and then laughing more. 

In the play, a socially awkward stay at home mother Pam (Christine Marchetti), finds a letter from her teenage son to his sweetheart. She turns up unannounced to discuss matters with anxious and chaotic Holly (Kelly Kimpton), the other teen’s mother. What initially seems like an introductory visit quickly becomes complicated with several laugh-out-loud and bizarre misunderstandings. The building tension and confusion of the precarious situation escalates with the arrival of Pam’s brash and filter less best friend, Cheryl (Kimberly Jonasson).

The trio of actors play off one another in a constant back and forth of quick quips and shocking stories which comes off quite effortless. Of course, this is because these three actors have learned from one another how to carry these scenes in a naturally humourous and, surprisingly, heartfelt way. Each actor brings strength, experience and comradery to their roles and the direction from Mary Rose hones these skills to create an energetic rollercoaster of heightened hilarity and overall, the message that love and acceptance needs to win over all their fears, doubts and insecurities. 

Marchetti, in particular, truly shines throughout and her character development is a stand out part of this production. Her ability to transform from meek and uncertain to bossy and unhinged is delightful to watch. There were several moments of the audience following her actions and audibly nervous (or perhaps experienced) “oh no’s” rippled through the darkened theatre, causing even more laughter. 

Kimpton is the show’s soul and her ability to drive the story through the chaotic events is impressive and necessary. She balances the comedy and heart exceptionally well and was the embodiment of a mother just doing her best to love and accept her child. 

Jonasson is, as usual, a firecracker once hitting the stage. She portrays the complete opposite of the two motherly counterparts and yet, embraces the need to be a caregiver in her own right, even though that care is unconventional. 

I won't spoil anything for future audiences but suffice it to say, the laughs are in abundance. That being said, no show is perfect. Some of the moments of seriousness don't last long enough to allow the message behind the comedy to have much (or as much) of an impact, but this is such a well written and performed piece that those moments are easily forgiven. 

Myth of the Ostrich is a welcomed piece of theatre, especially on a cold winter’s night, allowing audiences to be surrounded by the warm sounds of laughter. The performance continues until February 5 and I recommend it most highly if you are in need of mirth, merriment and the highs and lows of motherhood. 

For tickets and more information, please visit: DLT - Myth of the Ostrich

Photo credit: Keith Sharp

[steelcityreviews]

Looking forward to seeing all 18 shows! 

[steelcityreviews]

REVIEW: Dundas Little Theatre’s “The Humans”

Dundas Little Theatre enters its 61st season with a profoundly resonating, expertly acted piece from the Tony Award winning play (2016) by Stephen Karam. The Humans focuses on the psychological and emotional secrets and fears of an average American family while the run-down New York apartment plays upon both as its own unnerving character throughout. 

Written during a time of deep societal and economic uncertainty, The Humans examines each family member’s struggle with aging, illness and coming to terms with changes that they are equally unprepared for. All of this is expertly staged and directed by Matt Willson, whose deep understanding of the work and its elements of tense drama, laugh out loud comedic banter and even unexpected twists of supernatural dread captivate the audience. 

There is incredible attention to minute details in the multi-level set from the peeling water damaged walls, cracks in the foundation, drain holes in the basement. The set has a sense of decay and crumble and it perfectly matches the human characters state of mind as the play progresses. The set here, as mentioned early, is its own character and despite its appearance, truly is the soul of the piece. I recommend coming early to take in the details. The sound and lighting design is also integral to providing the unnerving feeling of the space. No spoilers, but do not trust anything you hear, think you hear or even see. While not all of the design and stage crew are mentioned in the programme, they all deserve huge recognition for their collective efforts here. 

Willson’s direction and casting further demonstrates how important this piece is to him. To say a cast is “perfect” may be stretching into hyperbole but this cast is as close to the word as possible. There is incredible veteran talent with welcome fresh faces on the stage of Dundas Little Theatre. Each actor demonstrates fine-tuned understanding of the script and, as an ensemble, they master the natural family dynamic of awkward conversations, overlapping dinner table chatter, subtle and not-so-subtle jabs at one another and portray a family so well, you cannot help but recognize your own family and their nuances too. 

This is what helps make The Humans so...human. It is some of the most refreshingly natural acting I have experienced in quite some time. The script does not feel scripted. It feels as it is intended: a family dinner, ripe with chaos, heartbreaking realism and an unnerving reflection upon our own personal experiences with topics like illness, relationships, religion, finance, love and fear. Every cast member embodies their character so well, if you didn’t know you were watching a play, it is very easy to believe you stumbled onto a dinner scene in your own home around the holidays. Bravo to this talented ensemble for their relatability and vulnerability. The audience was theirs from the start and by the end, shared in equal amounts of laughter, tears, and unexpected abject terror. 

This production is more than deserving of sold out shows for the rest of its run. It sets the bar exceptionally high for this season of Dundas Little Theatre. Do go and explore the laughter, the sorrow and humanity of The Humans. You will not be disappointed. 

[steelcityreviews]

HamilTEN Reviews: Friday

Remaining Shows: Saturday April 6 and Sunday April 7, 2019

Performed at: The Staircase Theatre, 27 Dundurn Street North, Hamilton ON

What can you do with 1 table, 2 chairs, 5 props, and 10 minutes? Find out at The HamilTEN Festival, Hamilton's premier festival of 10-minute plays written and directed by local playwrights in the Greater Hamilton community.

Tonight I experienced (for the first time!) 12 different shows from 12 local playwrights in this fun and fast-paced festival. I will see the remaining 6 shows on Sunday afternoon.

In keeping with the TEN theme, here are my 10 word (or less) reviews for each show. 

GREEN SHOWS

1994

Man relives the worst day of his life. Good narrative.

BEIGE, PUCE AND CHARTROOZE

A colourful romp that needs a full pallet. Very clever.

SINGERELLA

Cute concept. Needs more fleshing out but has potential!

GOODBYE

A couple deals with love and loss. Heartbreaking twist.

THE FOCUS GROUP

Loud and very funny. Neat reveals you don’t expect.

ONTARIO PROUD

Rot in whatever hell is closest to you Doug Ford. Amen.

BLUE SHOWS

IF I DON'T OPEN UP MY EYES

Siblings seek closure. Excellent use of small set. Bittersweet story.

WAIT, WHY ARE WE DOING THIS, AGAIN?

Married couple. Feeling personally attacked by this relatable content. Hilarious.

FRED

Interesting concept but didn't fall deep into this rabbit hole.

THE HOBBY HORSE

Weird and existentialist. Would love to see this fully fledged.

THE REVIEW

Quirky and fun. Gotta love those performance reviews. 

DALE THE UNICORN

Hilariously, ridiculously clever. Incredible use of costumes and characters.

For whatever remaining tickets are left, please visit: https://hamiltenfestival.com

[steelcityreviews]

Solo: A Night of Stories…. Featuring Pity Face & The ADHD Project

Presented by: make.art.theatre & GirlsCanCreate

Remaining shows: March 23rd (2 p.m. and 7:30 p.m.) and 24th (7:30 p.m.) 2019

Performances at: The Staircase Café Theatre (27 Dundurn Street North, Hamilton, Ontario) in The Brightroom (Please note: this venue is only accessible by stairs)

A creative duo Lisa Pijuan-Nomura and Carlyn Rhamey take the stage in an evening of storytelling.

Pity Face is a workshop showing of Lisa Pijuan-Nomura's one woman show about cancer. Too often we look at those with a cancer diagnosis with a "Pity Face"… an anxious and uncertain face, often presented with a side-tilt head and enormous lower lip pout instead of actually engaging with the actual person. We’ve all seen it, perhaps we’ve even made the face unintentionally. It’s a very eye-opening look at how cancer can either define you or just be a thing that you fight to overcome.

This piece is well-presented and with some thoughtful and very personal insights that reveal Lisa’s personal, and often hilarious, story about facing “that jerk cancer” (side note: who knew breast cancer was voiced by Fran Drescher?)  While not everything hit its mark in terms of timing and flow, the overall storytelling is real and moving. There are several laugh out loud moments followed by sobering ones that make an impact on the audience. This is not a sad, pitiful story. It is one that faces its subject matter head on. It offers a way to make the topic more accessible and how we as individuals can support others dealing with cancer. It is uplifting, spiritual and in the end, reminds us to find the joy in living. A story that needs to be shared and experienced.

The ADHD Project is a story that I first heard told at the Hamilton Fringe Festival in 2017 by now award-winning storyteller Carlyn Rhamey (SAOR, Scaredy Cat). Carlyn shares the trials and triumphs, from diagnosis to adulthood, and her journey growing up a little bit “Special.” The show remains, from its original inception to its evolution over the past two years hilarious, candid, and informative. What I love most about her stories is the ever-present cheeky sense of self-deprecation. Now presented with media inserts throughout, we get to see more of Carlyn’s experience growing up with ADHD and her stories are made even more relatable and accessible.

Carlyn strives to teach, to inspire and to show us all that our labels, whatever they may be, do not define us. They are simply a part of us. The ADHD Project allows audiences to see a deeply personal journey living and identifying with ADHD. I’ve said it before, and I’ll say it again: What a storyteller. She united a group of people this evening. Her message was straight-forward and hit everyone with acceptance: You are not alone.

 What was particularly interesting about these two stories is how they were connected by the concept of what defines you as a person. Is it your diagnosis? Is it a word that alters you? Are you forever seen as different because of your experience, or do you embrace it and not allow it to ultimately determine who and what you are? Both were incredibly inspiring, thought-provoking and wonderful affirmations that we are more than just (insert label/diagnosis here). Go listen, learn, laugh and be immersed in these stories. You will not be disappointed.

Websites:

Squirrel Suit Productions 

Girls Can Create

Make Art Theatre

For tickets: https://www.brownpapertickets.com/event/4099392?fbclid=IwAR2CjwzISMz_z8gmawl20V2uVHSLMueQR1YcIBoi2z63z76R4Ft4JR5b4uA

[steelcityreviews]

Review: The Team

The Team

Essential Collective Theatre

Written by Michael Kras

Directed by Colin B. Anthes and A.D. Michelle Mohammed

Performances in Hamilton March 14-16, 2019 (Theatre Aquarius Studio, 190 King William Street, Hamilton)

Performances in St. Catharine’s March 20-23, 2019 (First Ontario Performing Arts Centre, 77 Allan Drive, St Catharine’s)

A premier of a brand-new, award-winning Canadian play is a special kind of wonder. It’s never seen the stage. It’s never affected an audience. There’s potential, drive, uncertainty and the hope that it will capture an audience with its talent. These things are also present within the characters of playwright Michael Kras’ play The Team. It’s not surprising to make the correlations between the two and it’s ultimately satisfying.

The stage of Theatre Aquarius’ Studio stage is sparse with monochromatic colours and disjointed set pieces. It’s sports-related, not your typical play setting. The female-led cast take to the courts as the White Oak Warriors, a group of high school senior basketball players with aspirations, ambition and anxiety. You recognize them but they aren’t blatant stereotypes since Kras cleverly (and thankfully) writes them as layered individuals. The story unfolds as a recruit joins the team right before semi-finals begin. There’s a great deal of enthusiasm and trepidation among the players. Bobbi (played with incredible range by Lennon Bradford), joins in the aftermath of their brother’s death (no spoilers beyond that, I promise) and the team needs a strong, dedicated player to ensure success.

Success means different things to each of the players. Their journey as a team allows us, as an audience, to see them collectively strengthen and weaken one another emotionally and even physically. There’s a brilliant mix of dramatic impact and much needed comic relief between the characters. Several scenes within The Team deliver a great impact. The quiet, integral comradery between Bobbi and Alicia, the growing jealousy and resentment from Miranda, the feelings of overwhelming life changes from Jenna, the uncertainty and cheerful apathy of the future from Jess. One of the most powerful scenes is the ever-revealing drunken game “Never Have I Ever” and the weaving of the five stages of grief intermingling with the members of the team throughout the entire story.

It’s difficult to pin point any character or actor that stood out as they all had their moments if you were willing to see them. The actors own the stage with their understanding of the script and move throughout it with great fluidity. You are hooked on every word and movement they make. They control all the set pieces, have incredible timing with the sound design, and barely have a reprieve from the drama they find themselves in. It’s difficult to not be immersed in their world, especially if you lived it yourself as a teenager. I identified heavily at times and thought Kras and directors Colin B. Anthes and Michelle Mohammed were very respectful of the subject matter and the young women they were bringing to life through words and actions. My only small hope is that the stage in St. Catharine’s is elevated as it would make a few scenes more easily seen from beyond the front row.

As a Canadian premier, The Team succeeds in many ways. It has an important message for young people (not just women, but almost…especially for them). It is challenging and impactful, never shying away from difficult topics and how people choose to confront them. I have been to several works by Michael Kras and I still cannot grasp how this young artist is able to understand human beings and their complexities as well as he does. He never tells the same story twice. His work is always insightful and fresh. He is a playwright worth watching out for. Both he and Anthes blend the artistry of a scene and depth of emotion well and of course, incorporating intricate movement as a way of storytelling (a trait of Anthes that I find particularly fascinating).

I hope the show has even more success when it opens in St. Catharine’s next week and that the creative team of Kras and Anthes (and Essential Collective Theatre) will partner up again soon. Their work and company are the future of young artists looking for something meaningful to say.

 Websites:

Hamilton tickets: https://theatreaquarius.org/onstage/ta2-studio-series/ St.Catharine’s tickets: https://firstontariopac.ca/Online/default.asp…

🏆 Winner of the 2017 Herman Voaden National Playwriting Prize 🏆 Shortlisted for the Safe Words New Play Award

[steelcityreviews]

FRINGE 2022 PREVIEW SERIES -A Question of Justice

Steel City Girl Reviews thanks performer Joshua Fleming for his insights and experience with bringing A Question of Justice to the 2022 Hamilton Fringe Festival.

1) Quickly! 5 words to describe the show!

Intense, Dramatic, Thought-provoking, Powerful, Introspective

2) What inspired your company to produce this show?

Peter (our playwright), and I think all of us, was inspired to do this show by seeing the flaws in the Justice System and how it works. Is the Justice System fair? Is it truly Justice? Are people with privilege treated differently by the System because of their money and influence? Our show is inspired by these ideas but certainly leaves it open for you to make the decision for yourself!

3) Is this your first time producing a show in the Hamilton Fringe Festival?

Our group is a mix. This is Peter’s first foray into the fringe, and he was inspired by a real life court case that left him wondering if Justice had been served. Had Goodness won? So he took pen to paper and was able to inspire the rest of us to jump on board. As a group we have a fairly varied Fringe Festival past with some newbies and some old pros. I myself have been apart of the Fringe in Hamilton once before (in 2019) and could not have enjoyed it more. Having the ability to bring theatre to life that might otherwise not exist is truly magical. We can be thought-provoking, avant-garde, or just plain silly and it could be a huge hit, because at the Fringe ANYTHING goes!

4) What have been some challenges in bringing the show to life, and how have you overcome them?

I think we have all had separate challenges… First and foremost was assembling the team. Once Peter had created his fantastic script, he had to find a director to bring it to life. Fortunately between Greg (Our phenomenal director), Liz (our brilliant Stage Manager) and having Peter as our backbone we have been able to work past the first stage quickly. They then were able to cast three outstanding actresses and all of a sudden there was a play! I think now our greatest challenges are living the lives of these people that have been affected by real tragedies, and understanding how they would have felt in these moments. “A Question of Justice” takes into account some very difficult real life moments that most people will hopefully never have to deal with themselves, but anyone could at the drop of a hat. These are situations and scenarios I certainly hope to never find myself in my own life, and so putting ourselves into these predicaments and situations is far from easy. But I can’t wait to show everyone the final product, and hopefully we do justice (pun intended) to the serious and important issues brought to light.

5) How will this show speak to audiences?

I think what we hope to see, and will see from audiences is some very intense analyzation of our courts, our political and governmental systems and even society's view of what Justice is. I hope audiences will leave inspired to create change for the good - and to stand up for what they think is right.

6) Why is Fringe Important to you? How does Fringe help you as an artist?

I think what I love most about Fringe is the ability to experiment. True art can’t be created without risk, and when you’re producing a large budget show in Toronto, in Stratford, on Broadway, etc.… you can’t take as many risks as at that point, you have become a business. Fringe allows artists to create nearly anything they want and show it to audiences; to express themselves with no limitations and no inhibitions. 

One of my favourite things about  the Fringe Festival is that I can without a doubt say some of the best shows I’ve seen in my life have been at a Fringe Festival venue… and some of the worst. And I LOVE that. They are memories that will be with me forever; things I can learn from, grow from and take from. I love how accessible it makes theatre, and how it creates an environment of support and camaraderie between all fringe participants. It is truly a beautiful experience to be apart of; as an audience member, or a participant.

For more information, including show dates, times and ticket information, please visit: Hamilton Fringe 2022 - A Question of Justice

[trueresident-blog]

That excitement before seeing a live show #thezoetic #zoetic #plays #theatre #TrueResident #rediscoverlocal #beproudofyourcity #supportlocal #lovelocal #HamOnt #myhamont #905 #Hamilton #hamiltonian #hammertown #thehammer #hamiltonontario #exploreontario #loveyourcity #ambitiouscity #hamiltonlove #hamontlove #SteelTownStreets #ThisIsMyHamont #goexploring #instagood #igdaily #daily (at The Zoetic)