(From left) Ryan Reese, Ian McFarlane, Jennifer LeBlanc, Kelly Malcolm. Photo Credit: Kathryn Smith

Straight On ‘Till Morning

November 26-30, 2013

EPCOR Centre Motel

http://www.redphonetheatre.com

 

Oh Peter Pan, what have they done to you? They’ve turned you into a dull as wood, French whorehouse receptionist named Gagnon who is slowly losing her memory but gaining a past life in her dreams thanks to a jealous spell cast by a lovesick Roma witch/psychic. What’s worse my dear Peter, is that they make us trudge through an hour of Gagnon’s dream sequences and past life remembrances, a non sequitur relationship with a Julia Roberts-like squeaky clean hooker and a creepy romance with a man named Darling before we even realize it’s you they are talking about.

I’m sure when Camille Pavlenko wrote, Straight On ‘Till Morning (a title taken directly from J.M. Barrie’s classic novel when Peter gives Wendy directions to Neverland  i.e. “Second star to the right and straight on till morning’) she did so with the best of intentions for our beloved Pan. After all, who wouldn’t like to know what happens to Peter and Wendy after she returns home to her parents and he goes back to Neverland? However, I can’t imagine that anyone, in their wildest Pan-inspired spirit of make-believe, would have come up with such a convoluted, incongruous, hot mess of an epilogue/sequel as this play.

Set aside the ridiculous premise and the cobbled together ending that has three of the four characters turning back into their Peter Pan personas, Straight On ‘Till Morning, doesn’t even work when it’s playing it straight. Pavlenko’s contrivance-filled dialogue hovers somewhere between oddly formal (“Birds, never have I seen such birds”) and a stilted conversational tone (“What do I care about you. Who are you?”). In either case, it’s the sound of the play talking we hear, not believable characters. But then with characters so thinly drawn what could they possibly have to say? There’s Gagnon (Kelly Malcolm) who is so soulless that even memory loss can’t make her hollower as a character. James (an overly broad and laughably brooding Ian McFarlane), the Roma witch seems only capable of comical menace or passive aggressive jealousy. Liliana the call girl (played with morning show perkiness by Jennifer LeBlanc) fits into the story like a square peg. Finally there’s Darling (a capable Ryan Reese), whose deepest moments are spent thanking people for something he can’t place his finger on. Collectively they are an exhaustingly tedious, one-dimensional bunch. Oh and did I mention they are in Paris? No? Well that’s because other than some clichéd accordion playing of French sounding tunes at scene changes, and just a smattering of actual French-speaking about halfway into the play, the city setting is totally irrelevant to the plot.

But even tedium and irrelevance is preferable to the sloppy, goofy mud-pile of dialogue and plot that occurs once the Peter Pan transformation happens. Up until this point, Director Geneviève Paré manages to eke out some lovely staging during the dream sequences using shadow, bed sheets and understated movement. But once the tick tock of a crocodile hungry for more of Captain Hook sounds off, it’s like nursery playtime on stage. There’s nonsensical running about, half-hearted fighting, fake sword-play and out of the blue merriment that simply doesn’t fit with the mystical, gloomy mood that’s come before it.

Ian McFarlane, who also doubles as set designer, gives the cast a well-conceived tightly designed space to move around and Lisa Floyd’s lighting gives gravitas to the narrative where the dialogue and characters cannot.

I distinctly remember my first exposure to Peter Pan and feeling  that even if I grew up and stopped playing make-believe, I would never forget Peter and the lessons he taught us. Now as an adult encountering  Peter again through this play however, I may need to take a page from Gagnon’s story and hope that my memory of this unfortunate chapter fades quickly and never, ever comes back.

 

RATING

For everyone – While one cannot help acknowledge the work and effort that this emerging playwright and these emerging actors put into the production – the results are so off the rails in so many directions that any enjoyment is utterly neutered. SKIP IT

(l to r) Natascha Girgis playing Passepartout, Rylan Wilkie playing Phileas Fogg and Sanjay Talwar playing Fix of the Yard.  Photo credit: Trudie Lee Photography.

Around the World in 80 Days

November 21 – December 29, 2013

Martha Cohen Theatre

http://www.atplive.com/2013-2014-Season/80_days/index.html

Listen to my full review of Around the World in 80 Days on CBC’s Calgary Eyeopener at http://www.cbc.ca/eyeopener/columnists/theatre/2013/11/25/jessica-goldman-reviews-around-the-world-in-80-days/

 

RATING

For the kids – The 10-year-old girls I went with (who previously had never heard of Around the World in 80 Days) throughly enjoyed themselves, laughing at all the different characters, accents and zany situations. Whether they should have been made to laugh at some culturally insensitive to downright racist material however, is questionable. MAYBE SEE IT

For the adults – Clever running gags, self-aware comedy that deprecates the plot, gorgeous production design and great energetic performances will keep your interest up. But a mature viewing of this play can’t help but notice the offensive cultural depictions in the script and that might make you wince instead of laugh. MAYBE SEE IT

For the occasional theatre goer – While the story is thin on plot, the result is still loads of fun. Three actors playing twenty characters will wow you and the gorgeous design will make it feel like a special night out. SEE IT

For theatre junkies – There is no doubt that the talent on stage, in the director’s seat and throughout the design team in this production is worth your attention. But if the inappropriate racist elements can’t be weaned out in a modern telling of a story originally written in 1873, then perhaps no matter how gorgeous the production is, it’s time to retire this play. MAYBE SEE IT

Photo Credit: James May

Hedwig and the Angry Inch

November 7 – 17, 2013

Studio in Vertigo Theatre

https://tickets.vertigotheatre.com/TheatreManager/1/login&event=0

Listen to my full review on CBC’s Calgary Eyeopener at http://www.cbc.ca/eyeopener/columnists/theatre/2013/11/11/jessica-goldman-reviews-hedwig/

RATING

For traditional musical lovers – Hedwig is more of a confessional monologue/rock concert than a typical musical. Add to it the sexual nature of the content and the volume of the music and this may not be your cup of tea. MAYBE SEE IT

For alt musical lovers – What Hedwig gets so right is that unlike other rock musicals that just use existing music (Rock of Ages) or those that claim to be rock musicals but are still firmly in show tune land (Jesus Christ Superstar) , the music here is real deal. Loud and raw and obviously influenced by Bowie, Iggy Pop and Lou Reed, Hedwig explodes with energy both musically and in the dialogue. SEE IT

For occasional theatre goers – The drag queen comedy may amuse you and although it’s essentially a monologue, you will not tire of Hedwig’s character. But make no mistake, this show is dark and loud and at times uncomfortable in ways that you may not find entertaining. MAYBE SEE IT

For theatre junkies – I hear so many of you say how tired you are of traditional scripted dramas. Well this will certainly cleanse your palate! Yes the structure is clunky at times and Hedwig’s relationship with his bandmate Yitzhak is poorly crafted and the band often drowns out the lyrics, but all can be forgiven thanks to Geoffrey Ewert’s superlative performance. This is en energetic, well-directed, explosive production that is well worth your time. SEE IT