Victor A. Young as Tevye. Photographer: John Watson

 

Fidler on the Roof

April 17 – June 22, 2014

Stage West

http://www.stagewestcalgary.com/shows.html

 

“On the one hand…on the other hand”. This is the back and forth reasoning employed by Tevye, the Jewish milkman, as he struggles to think through the challenges that face his family and his traditional way of life in his little Russian village of Anatevka in the classic 1964 musical Fiddler on the Roof. In this version, brought to us by Stage West and directed by Elizabeth Stepkowski Tarhan, considering all sides in this manner is not just Tevye’s process, but perhaps the most fitting way of discussing what is ultimately an uneven production. So, to misquote the Good Book Tevye-style, if the process ain’t broke, don’t fix it. Herewith are the pros and cons of the production:

 

The music

One the one hand – Jerry Bock’s music and Sheldon Harnick’s lyrics remain wonderful as always.  Each and every tune in Fidler is an earworm waiting to happen. Here the cast honours it fully with strong and beautiful voices and a live band that sticks to tradition and gives us the arrangements we expect.

On the other hand – A beautiful voice without the ability to act or fully emote the music renders numbers limp and lifeless and this was the case whenever Tevye’s daughters had their moments. In particular, the Matchmaker number (where the girl’s look forward to and then dread the outcomes of their arranged marriages) performed by Tzeitel (Elena Porter), Chava (Arielle Rombough) and Hodel (Sarah Higgins) lost all its girlish, hopeful charm due to the trio’s inability to bring their characters to life in any way but hitting the correct notes.

 

The dancing

On the one hand – Choreographer Phil Nero did a lovely job recreating the wedding scene tenuous bottle dance and generally the younger male cast members charged with the bulk of the Jewish/Russian style of dance delivered.

On the other hand – Tevye (Victor A. Young) often looked like he was having minor seizures rather than letting loose in dance.

 

Speaking of Tevye

On the one hand – Despite some physical awkwardness, Young does a terrific job brining Tevye to life as a loveable, sometimes hard-headed, father and husband trying to adjust to the world around him. This is a character that needs to ooze warmth so that we attach instantly and allow the character to guide us through the story and his struggles and Young won our hearts from the start. It was an easy-going performance that forced nothing and instead let the natural allure of Tevye shine.

On the other hand – At times Young’s performance too easy going. His If I Were a Rich Man number where Tevye fantasizes about a life with gobs of money didn’t quite ramp up to the passionate frenzy it should have. Additionally in other scenes, Young’s anger never really seemed to boil at full temperature. Tevye is loveable and ultimately pliable, but his story should have been more of an emotional roller coaster along the way.

 

The direction

One the one hand – Stepkowski Tarhan’s staging of The Dream, where Tevye recounts his fake nightmare to his wife Golde (strongly played by Gabrielle Jones) in order to get his eldest daughter out of an arranged marriage, was both perfectly theatrical and visually splendid. As was her treatment of the bar scene where that same marriage arrangement was initially hatched. Stepkowski Tarhan also wisely let Natascha Gurgis as Yenta, the matchmaker, go full throttle and deliver a wonderfully comic and bitter performance. The directorial decision to move the intermission up a scene to land in a happy place rather than when tragedy strikes was a clever way to keep the energy of the audience up for this long production.

On the other hand – While the tragic pogrom scene is smartly delayed until the second act, it’s a total dud. Rather than showing the devastation and destruction caused by these kinds of raids, Stepkowski Tarhan merely had her actors knock over a table and rip open a pillow. Hardly worth ending a wedding celebration over.  But the biggest complaint is the feeling that that show was about two beats too fast the entire production. Rather than letting the dialogue breathe, the cast is flung from one number to another, at times feeling mechanical and at other times feeling like they simply had to rush the show for fear of keeping us there too long.

 

The set

On both hands – Apart from the fact that it worked the way it was supposed to, there can be nothing positive to say about Sean D. Ellis’s set design. Depicting a poor town doesn’t have to mean ugly, but that’s what Ellis gave us with a house that looked like it was rubbed in ashes, a half dead tree and a colour scheme that resembled baby poop. The best that can be said is that it was functional.

 

RATING

Keeping the hands thing going…

This is the trillionth production of Fidler I’ve been to. Or at least it seems that way. One the one hand, it’s certainly not the best one I’ve seen. But on the other hand, it’s far from the worst. The music holds up after all these years as does the story. The production is comfortably familiar with strong voices that don’t always thrill outside of the notes.

If you’ve never seen Fidler – This production is a nice place to start. SEE IT

If you’re a Fidler fanatic – Hits and misses make this a decent if not spectacular production. MAYBE SEE IT

For the occasional theatre goer – The story and music are wonderful, as are some of the performances, but at over two hours, this is a long production that doesn’t always keep the pace up. MAYBE SEE IT

For the theatre junkie – Too many directorial and cast missteps get in the way of making this a must attend for you. SKIP IT

 

 

Braden Griffiths with one of the show’s puppets. Photo courtesy of Downstage.

 

My Family and Other Endangered Species

April 23-May 3, 2014

Big Secret Theatre

http://www.downstage.ca/myfamily.shtml

Listen to my review from CBC’s Calgary Eyeopener at http://www.cbc.ca/eyeopener/columnists/theatre/2014/04/28/jessica-goldmans-latest-review/

 

RATING

For kids – While the narrator is a nine-year-old boy and wonderfully geeky and sweet and frustrated in a way any child could relate to, the show does have some disturbing elements that may not be appropriate for the little ones. Downstage recommends this show for kids over the age of twelve. I recommend that every kid over the age of twelve (or less sensitive younger ones) go see this fantastically entertaining, funny and smart show. SEE IT

For adults – This is one of those magical plays that is just as enjoyable for adults as it is for kids. Yes you will find Phin, the nine-year old boy, compelling and no doubt  find many opportunities to laugh in this show, but you will also delight in the deeper messages and emotions this intelligent play offers. SEE IT

For the occasional theatre goer – Don’t let the fact that the play is about a nine-year old or has sci-fi elements put you off. This is a tender, emotional, funny wonderful play with fantastic performances that will leave you satisfied on all levels. SEE IT

For theatre junkies – Splendid adaptation and wonderful acting aside, this is a phenomenal production. Simon Mallet’s incredibly stimulating direction  allows the performers to play both the same role/multiple roles seamlessly. Riley Miljan’s oh so clever set design moves and morphs and becomes whatever configuration is needed to tell the story. Alexandra Prichard’s lighting sets the tone spot on in every scene and greatly contributes to the visual beauty of the show.  Braden Griffith’s band of alien puppets capture our hearts or purposefully repel us in the beautifully integrated fantasy scenes. Top to bottom, this is a must. SEE IT

L to R, Simon Tottrup as Sergius, Matt McKinney as Bacchus. Photo credit Jason Ho.

 

The Passion of Sergius and Bacchus

April 22rd – May 3rd, 2014

EPCOR CENTRE’s Motel

www.epcorcentre.org

 

You would think that a play entitled The Passion of Sergius and Bacchus would strive to have some passion in it. The word is in the title after all. Besides, shouldn’t passion be a major driving force in a story about two high-ranking historical Roman soldiers living openly in a gay relationship but exposed as secret Christians and executed as a result? You’d think so. But unfortunately this original Third Street Theatre production is about as passionless as you can get, delivering timelines and facts in place of emotion and insight.

The play, written by Third Street’s Creation Ensemble, Matt McKinney, Amy Sawka and Simon Tottrup, under the direction of Paul Welch, is inspired by John Boswell’s take on Christian martyrs, Sergius and Bacchus. According to Boswell, the soldiers’ relationship was a romantic one tolerated by the Romans and even consecrated by early Christians.  It wasn’t until the lovers rejected the Gods of Rome and became Christians that the wrath of the Roman emperor was unleashed, requiring they be killed for paganism and betrayal of the emperor and his Gods.

Sure Boswell’s theories are controversial and have been rejected by some historians, but none of that matters on stage.  With its love story and secret faith and betrayal and punishment, this story of Sergius and Bacchus has all the elements for a great play. But to get at the drama, we need to get to know and care about the soldier/lovers and this is where the production misses on all counts.

Sergius (Simon Tottrup) and Bacchus (Matt McKinney) are introduced to us in a series of slipshod flash tableaus. Here they are fighting. Here they are winning. Here they are celebrating. Here they are kissing.  We do get some time with them and their male friend Antiochus (Amy Sawka) playing tag and joking around, but it’s not nearly the character building blocks we need in order to connect. Quickly then the play gives us another short undeveloped scene where Bacchus, coming to after a near mortal wound on the battlefield, tells Sergius of his vision. There is something else out there, he says. And just as fast as you can say Holy Father, the two are now Christian, bound together by both their love for each other and their faith in Christ.

But why do they love each other? And how is their relationship viewed by the Roman population? And what inner struggles did they have to go through to give up their previous faith and accept an outlawed savior? And aren’t they scared of being found out? And why are we still asking these questions after sitting through an hour-long show  that should have at least attempted to address some of this? As scene after scene in this lightweight play passes, it becomes increasingly clear that the writers’ disinterest in their characters’ inner lives is going to make this show a slog despite two bright moments. Playing on the stereotypical insults hurled at the gay community, Antiochus is disgusted when he learns of Sergius and Bacchus’ conversion to Christianity. “It’s gross….you were so normal…it’s perverted”, Antiochus spits at them.  Yes the irony of the pair being called these things not for their sexual preference but for their choice in religion is a nice twist of ideology. Later when Sergius and Bacchus marry in a Christian ceremony there is a very amusing interchange about monogamy and the pair’s ability to be with no one but each other. However two small moments cannot begin to make up for a play full of missed opportunities.

Sawka as a decent Antiochus (and a number of other characters including the emperor) strangely gets the lion’s share of the dialogue in the production, further distancing us from the leads we desperately want to know more about. Tottrup’s stiff portrayal of Sergius is helped by his limited dialogue. McKinney fares better but any spark of ability is quashed by his thinly written character and minimal spots of expression in the script.

Working with a bare stage, save for three ribbon-like curtains hanging from the ceiling, Welch does little to bring gravitas or emotion to the stage.  Instead he relies on jokey masturbation staging and a morning blowjob to get our attention.  Had the rest of the production demanded our focus, these scenes would have worked well. But as stand alones in an otherwise visually dull presentation, they seemed gimmicky and over reaching.

Over reaching in fact, seems to be the theme of this young company’s 2013/14 season that, at least in my mind, has been disappointing compared to last season’s stellar inaugural productions. Perhaps it’s the curse and pressure of following up your first big hits or perhaps the double size season this year was biting off more than they could chew. Whatever the reason, this is a company with great potential and an important niche in the theatre community. I keep my fingers crossed that they can get back to telling complex and emotionally resonating stories that put them on my radar in the first place.

 

RATING

For history buffs – It doesn’t really matter if you believe Boswell’s assertions or not, this is a fascinating story that should have given insight into a time and place and people. But with barely any character development or discussion of the time, this play is far too thin to bring anything to your table. SKIP IT

From a religious interest – Yes it’s interesting to see how Christianity was once treated as an abomination and curious to consider that gay marriage was once condoned by the church. But these are facts laid out in the play, not situations dramatized for intellectual or emotional effect. As such, the power to move or peak interest is greatly diminished. MAYBE SEE IT

For the occasional theatre goer – The story is there, it’s plainly told and sure, you may learn something. But this one may feel like taking your medicine rather than an entertaining or engaging production. SKIP IT

For the theatre junkie – Such a great story, such missed opportunities. SKIP IT

Actors pictured (l to r) Wil Knoll and Geneviève Paré. Photo credit Cassie’s Camera

 

Eavesdrop: The Coffee Shop Show 

April 15 to May 2, 2014

Various locations

www.swallowabicycle.com

Listen to my review from CBC’s Calgary Eyeopener at

http://www.cbc.ca/eyeopener/columnists/theatre/2014/04/16/jessica-goldman-reviews-eavesdrop/

 

For everyone – This show is a great  idea without the content to back it up. The wireless headphones and the working coffee shop locale fall into gimmick territory thanks to a script that is neither engaging nor terribly unique. If we don’t care about these characters then why would we want to eavesdrop on them in the first place? On the plus side, Swallow-a-Bicycle has a history of reworking and remounting its plays several times. Perhaps the next incarnation will be more fully formed. SKIP IT TILL NEXT TIME

The cast of RosebudTheatre’s The Diary of Anne Frank. Photo credit: Kelsey Krogman

 

The Diary of Anne Frank

March 28 to May 17

Rosebud Theatre

http://www.rosebudtheatre.com/index.php/tickets

Listen to my review from CBC’s Calgary Eyeopener at 

http://www.cbc.ca/eyeopener/columnists/theatre/2014/04/07/jessica-goldman-reviews-diary-of-anne-frank/

 

RATING

For fans of the book – While the play doesn’t capture the literary prowess and imagination of this precocious young teen, it does give full life to situations that can only be described on Anne’s pages. So it’s a bit of give and take in this gorgeous production that sees many fine performances but an Anne that is too perky to be completely engrossed by. MAYBE SEE IT

For The Diary of Anne Frank newbies – This is a 60-year-old play that still is relatable and relevant. We can all imagine the horror of being locked in at attic with 7 other people in fear for your life and terrified that someone may hear you. But the real draw of the story is Anne, who managed to remain hopeful throughout her ordeal. While the production may do Anne some disservice, overall this is a very good introduction to her story. SEE IT

For occasional theatre goers – The story may be familiar but you will not find a dull moment in this production thanks to a magnificent set,some very fine acting and a few laughs amongst the ultimately tragic story being told. SEE IT

For theatre junkies – It’s odd to say forget about Anne when watching The Diary of Anne Frank but if you are willing, there are some outstanding performances in this eye-catching production. While Director Paul Muir may have faltered with getting his Anne to really resonate and once or twice goes in for some terribly hackneyed staging (the final attic scene in particular), the majority of the direction flows effortlessly and shows a real talent for navigating a small, stagnant set. MAYBE SEE IT

 

Dad, Day 1 playwright and actor, Dave Kelly. Photo by Nicole Zylstra

 

Dad, Day 1

March 31 – April 19, 2014

Lunchbox Theatre

http://lunchboxtheatre.com/dad-day-1.html

 

Dad, Day 1, Dave Kelly’s confessional monologue about his reflections on parenting brought about by the birth of his first child, begins predictably with the cry of a new-born infant from a darkened stage. When the lights go up, we see Dave in what looks like a garbage strewn outdoor hospital parking lot (sloppily conceived by Terry Gundvordahl) looking for his car just a short while after he and his wife have welcomed their son, John, into the world. From the cliché and sit-commy patter that follows (Are these booties or socks? The scramble story trying to make it to the delivery room, the gushes of joy at becoming a Dad) it seems that Dad, Day 1, under Rebecca Northan’s direction,  is to be an unabashedly over sentimental light comedy about first time fatherhood. But just when the gooey-smirky-sweetness of the whole things begins to lull us into sugar shock, something interesting happens. The birth of John becomes a mere device for Kelly to give us a far more interesting, dramatically complex and meaty narrative. One that more or less leaves baby John aside and has everything to do with Dave’s own upbringing and his contentious relationship with his parents.

But to get there you need to wade through about 30 minutes (half the show) of what amounts to Dave doing his best PG- friendly stand-up routine. In it he delivers a series of set ups and punch lines (with constant outstretched arms for effect) on everything from a guy giving him the finger to preferring to set up the home stereo system over building the crib. It’s the unbuilt nursery by the way that’s underneath Gunvordahl’s garbage parking lot tarps and it’s Dave’s job in the second half of the play to remove the coverings,  put the baby’s room together  and use the furniture as  a stand in for items in his parent’s home.

Meeting Dave’s parents in the play is a fluffy occasion. Projections of photos of Mom and Dad appear on what looks like an oversized schoolroom movie screen with Dave saying hello to them as if starring in an episode of Mr. Dressup.  We hear tales of how strong, decisive and full of stories and laughter they are.  We also learn of his father’s emotional distance and his mother’s extreme devoutness and how both of these traits develop into huge roadblocks in Dave’s relationship with them.  It’s here that Kelly finally stops performing and begins acting and it’s here that the narrative gives the audience something to truly pay attention to. Vulnerability and hurt are at the heart of these scenes even when they are wrapped in humorous bed-wetting scenarios that has Dave praying to his mother’s many saints to make it stop. As the tensions between the always sweet – even in rebellion – Dave and his absolutist parents come to a head, we can’t help but feel the child in all of us break a little at the thought of being rejected by a mother or father.

However, the immersive empathy doesn’t last long. It seems Northan can’t leave well enough alone on the dramatic front and instead of trusting Kelly’s writing and performance to draw us into his struggle; she keeps interrupting the action with schmaltzy music overlays. To be fair, she does this the entire show, but while it was simply groan-worthy to have heart-stringy music playing as Dave describes holding his child for the first time, it’s inexcusable to do the same overtop of Dave reading a dramatically crucial and curious letter from his father.

By the end of the show, the device and the drama do eventually meet up again. Will the birth of Dave’s child mend broken fences between him and his parents? Being a true story, I suppose it’s unfair to wish for an unresolved yet compelling ending where neat answers aren’t always available. Besides who could wish anything but good things for the always affable Kelly?  But if I had one wish for both he and Northan in this production it would be to take the finger off the corny trigger and let us warm to the ending quietly and calmly without the inclusion of one last tear-jerky manipulation.  After all, we may not all be parents but we all have or had our own and none of us need cheap dramatics to feel the emotion of those relationships.

 

RATING

For parents – I have no doubt that many of you will relate to the joy and uncertainly of being a first time parent exhibited in this show. But reflecting back to you what you already know is easy. Making you think about what you don’t know or haven’t thought about is what makes for a good piece of drama. And yes, Dave’s relationship with his parents is a revelation. Put those together (if you don’t mind the schmaltz) and you should enjoy well it enough. SEE IT

For the childless – It’s quite possible that you find the whole ‘wonder at being a new parent’ thing tiresome and unfortunately that’s a large part of the show. But get past that and some awfully hackneyed treatments and there are real family relationship gems to be found. MAYBE SEE IT

For the occasional theatre goer – Even when Kelly over plays the delivery he is a likeable and sweet presence on stage. The tidy arc, the gulp in your throat story and the way no one is ever played as a bad guy may be just the sweet uplifting tale you long for. SEE IT

For the theatre junkie – There is no doubt that buried in this play is about 20 minutes of honest, raw, splendidly-written and performed theatre. And yes sometimes it’s advisable to date a lot of frogs to get to the prince. But in this case, the combination of the exhaustingly familiar, the sitcom timing, the heavy-handed emotional manipulation and the unimpressive staging and set design make this particular layer of frogs possibly too thick to bother with. MAYBE SEE IT