#ted witzel

[frontmezzjunkies]

Buddies Flies Absurdly High with the Twistedly Brilliant "Roberto Zucco"

#frontmezzjunkies reviews: #BuddiesInBadTimes' #RobertoZucco by #BernardMarieKoltès translated by #MartinCrimp directed by #tedwitzel w/ #JakobEhman #SamanthaBrown #FionaHighet #DanielMacIvor #KwakuOkyere #OyinOladejo @buddiesTO #Toronto #theaTO

Daniel MacIvor and Jakob Ehman in Buddies in Bad Times’ Roberto Zucco. Photo by Jeremy Mimnagh. The Toronto Theatre Review: Buddies in Bad Times Theatre’s Roberto Zucco By Ross The opening of Buddies in Bad Times‘ Roberto Zucco is as sharply unique and highly armed as possible, alerting us to sounds heard by their ears, and sneaky visuals creeping and lurking in the background. Elevating the…

[theplanningstage]

"We start with work that is exciting to us individually.  That’s always going to be the first spark.  We approach our task with an interest in form. We’re drawn to work that features nuance and skill in playing with tone and genre. 

We’re interested in more than just a great text.  We’re looking to be inspired by a new world. "

[the1920sinpictures]

1919 Dancer Ted Shawn in “Gnossiene”. The Witzel Studio. From Liveauctioneers.

[the-wheelchair-critic]

Lulu V.7

This review was written to match the style of The Toronto Star (Also, for those new to reading criticism the critics don’t write the headlines, the editors do, so none of these actually have one)

3.5 stars

Co-Produced by Buddies in Bad Times Theatre & Red Light District. Directed by Ted Witzel. Until May 20that Buddies in Bad Times Theatre, 12 Alexander Street. http://buddiesinbadtimes.comor 416.975.8555.

When staging a classic play, it is always important to consider how the messages and themes hold up to a modern context, in LULU V.7co-creators Susanna Fournier, Ted Witzel & Helen Yung don’t let playwright Frank Wedekind off the hook.

Wedekind’s 1894 play Lulu: A Monster Tragedyrevolves around a young woman, Lulu, and the men and women in her life who are destined to both be obsessively in love with her, and die tragically. Rose Tuong plays the role of Lulu brilliantly, and is in equal measure naïve and child-like seemingly unaware of her effect on others, and cunning and calculated, beseeching men to kill at her behest. This production of the play is presented in two parts, the first a modern “deconstruction” of the original play, and the second a critical engagement with how the themes and messages found within the play continue to be relevant to both straight and queer lives.

Care has been taken in this production to ensure that Wedekind’s play is accessible to a modern audience. The show begins with a lesson on the context of the play; providing insight into the social and political atmosphere of 1890’s Paris. Throughout the first half of the show there is a careful balance between staying truthful to the source text, and updating references to appeal to a more modern audience. The second half of the show, is best understood as an interrogation of Lulu, where nothing is taken for granted, and where Wedekind’s treatment of the characters is perfunctory, this half instead dives deep into personal storytelling and motivations. This critical appraisal is deeply rooted within a modern Toronto context, touching on the Bruce McArthur murders, the Pulse nightclub shooting and the relationship to the very theatre where the show is taking place, and the horrors of the 29 Dufferin bus.

Wesley McKenzie’s audio visuals play an integral role in this production. The production takes place on Helen Yung’s simple set, consisting of a raised stage with an angular grate in the middle, with two side offstage areas. McKenzie’s use of these offstage areas is innovative, incorporating video technology to display what happens just out of sight across the back drop of the set. However, as someone who is hard of hearing, I found the sound distortion effect used too frequently, without consideration for how those with hearing loss or audio processing difficulties may be able discern the message from the noise. After the first act Yung’s stage is literally ripped apart in pieces, preparing the audience for the deconstruction that is to come.

Thematic elements play a strong role in this production. There are many repeated motifs throughout the show, including those found within Sarah Doucet’s costume design. Whereas Wedekind’s Lulu is marked by her love of frivolous costumes, and inability to dress herself, in the deconstruction the entire company is Lulu wearing a white crime scene jumpsuit and red wig. The second half further emphasizes the unity of the cast, with ensemble movements, and during the poignant rush toward the ending, their nudity.

Overall, perhaps the conclusion that one is expected to draw after seeing LULU V.7 is that stories such as Lulu’s still serve a purpose as one tries to make sense of loss and life in Toronto’s queer community. Where a community grapples with the fact that until very recently a monster walked among them, unable to walk more than a few steps without running into the ripples created by homophobia and violence. Fittingly, LULU V.7 ends on a hopeful note, reminding the community that even in the face of endless violence it is possible to choose to remain hopeful about the power of love, and for a time when the monsters are best left to the minds of those who write tragedies, rather than enact them.

[paleeyesmusic]

I’m excited to be working on this epic trilogy with some very talented artists. Can’t wait to play a part in conjuring this thing in to existence.

/// An unknown country. An unknown year. Enter the world of ... ///

/// For the last 12 months a team of 20 artists (joining over a 100 who have come before) have been readying to launch PARADIGM' biggest project yet. ///

/// Coming to a theatre near you this winter ///

Aki Studio Buddies In Bad Times Theatre The Storefront Theatre

Tickets on sale now @www.empiretrilogy.com

Trailer Sound Design by Ben McCarthy, Video by ted witzel

With excerpts from: "The Philosopher's Wife" podcast, produced by Chris Tolley & Laura Mullin of Expect Theatre's PlayMe Program & PARADIGM. Featuring the voices of Keith Barker, Ishan Davé & Empire Trilogy Designers Michael F Bergmann, Alexandra Lord & Ben McCarthy

[frontmezzjunkies]

Buddies in Bad Times Theatre 46th Season Announced

#frontmezzjunkies reports: #tedwitzel, Artistic Director of #BuddiesInBadTimes #Theatre, announced the company’s 46th season, a full year of programming, held by the phrase “#Queerness is Divine Mystery,” #theaTO @buddiesto

The Toronto Theatre Report: Buddies in Bad Times Theatre Season 2024-25 ted witzel, Artistic Director of Buddies in Bad Times Theatre, announced the company’s 46th season, a full year of programming, held by the phrase “Queerness is Divine Mystery,” co-curated with Buddies’ Artistic Associate Erum Khan. The works in this season, witzel’s first at the helm of the mainstay queer institution, seek…

[paleeyesmusic]

Ted Witzel