Grandpa Sol and Grandma Rosie

"Grandpa Sol and Grandma Rosie" is “one woman’s adventures in aged care”. Jackie is a nurse who works in a Jewish Home for the elderly, and the show is about how she comes to terms with her own mortality by spending time with the residents in her care. Lana Schwarcz, who is here all the way from Australia, is the creator and performer of “Grandpa Sol”. She is joined on stage by a number of puppets who play the elderly characters in the home.

"Grandpa Sol" was created using a technique called verbatim theatre. Schwarcz interviewed a number of senior citizens and then used those interviews to construct the piece. Interestingly, this is the second show in the Ottawa Fringe to employ this technique. In "This is a Recording", the actors repeat (verbatim) the stories they have collected (as well as sharing a couple of their own) and the audience also gets to hear pieces of recorded interview. In "Grandpa Sol", Schwarcz listens to the interviews through headphones, and then repeats the words to the audience. Her choice to use headphones helps her to directly mimic the accents and speech patterns of those who have been recorded. Often, the voice is that of someone from the Monash Home for the Aged in Melbourne, and is used as she manipulates one of the puppets.

There are a lot of interesting concepts in this show; for example there is a bingo game where moving eyeballs and dentures represent both the people playing the game and the bingo card itself (watch the promo video and you'll understand what I'm talking about). The problem with having a number of interesting concepts is that the show does lack focus. The title: "Grandpa Sol and Grandma Rosie", led me to believe they would be the central characters. But they are only two of the elderly characters featured in the play, and the more memorable scenes don't include them. There is a scene at the very end that explains why these characters are now "Grandpa and Grandma" but the main action of the play involves Nurse Jackie talking to the audience about why she is afraid of growing old.

There are flashbacks to her time at nursing school, and to her interview at the nursing home. And during these interludes, the puppet characters are slumped over in chairs, sometimes teetering dangerously making me nervous they will fall over. Puppets are distracting, whether they are speaking or not, and seeing their lifeless half bodies surrounding Jackie as she relates or enacts stories from her past certainly detracts from the desired effect.

The other thing I found distracting was the staging. Most of the action took place upstage right, so it felt a bit like everything was squished into one corner. Most notably, Sol and Rosie were in the corner upstage right, so each time Schwarz was manipulating one of those puppets she felt far away from the audience and was right up against the curtain. Now, there is any number of explanations for this: could have been an issue with the space, adjusting the show to a new venue, working with the existing lighting design - I understand it must be difficult especially for someone touring on their own to work with all of these variables and be successful in a such a short amount of time. But I mention it because it is part of the overall impression of the show, and the impression I had the night I saw it was that the staging was awkward.

Lana Schwarz is delightfully personable, her charm and that wonderful Australian accent make her instantly likable. She is also very good at manipulating the simple yet effectively designed puppets and she does a great job at mastering the accents and conveying the voices and stories of the old people. I just wasn't sure what I was meant to take away from this piece and it is almost two shows in one. On the one hand, it is a one woman show about overcoming loneliness and fear of aging. On the other, it is a verbatim theatre piece using puppets, about Jewish senior citizens in a nursing home.

While both interesting in their own way, ultimately these two driving forces conflict - because they in fact interrupt one another - the structure of the piece is such that the scenes with the seniors are interspersed with moments from Jackie's life. Also, you never get to see enough of either aspect for it to be satisfying. This is why for me, this piece does not succeed. It is entertaining, but problematic.

Rating: O
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Grandpa Sol and Grandma Rosie runs June 21 - 28 in Alumni Auditorium as part of the Ottawa Fringe Festival.

Countries Shaped Like Stars

Go see "Countries Shaped Like Stars". It is poetry, music and joy. Truly outstanding work.




Rating: M

Countries Shaped Like Stars is created and performed by Emily Pearlman and Nicolas Di Gaetano and directed by Patrick Gauthier. Buy tickets in advance and go to the venue early to line up for seating. This show will sell out.

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Countries Shaped Like Stars runs in Cafe Alt June 21-27 as part of the Ottawa Fringe Festival.

This is a Fringe: A Review of Two Daniel MacIvor Plays

Daniel MacIvor is a popular and prolific Canadian playwright. His work is particularly appealing to Fringe Festival artists because it is well written and often of the one-man, one-act variety. This year at the Ottawa Fringe, there are two such works: “House” featuring Jon Paterson from THEATrePUBLIC in Edmonton and “Wild Abandon” featuring Zach Counsil from Black Sheep Theatre here in Ottawa.

“House” is a dark comedy about Victor, a miserable and angry man who is in a loveless marriage with his cousin and who works at an absurd job. Jon Paterson’s Victor is very intense and kind of terrifying. The staging and lighting design are both simple and effective: I particularly enjoyed the use of a hand held light shone alternately on different parts of Victor’s face. I understand from speaking with others who have seen Daniel MacIvor perform this piece, that it is not always so entirely dark and intense, but can have a lighter side. Of course this is the beauty of good writing: it can be brought to life in many different ways. Jon Paterson is an excellent performer and he brings so much emotional and physical energy to this piece that I can only imagine he must be exhausted after each show. Definitely worth seeing, compelling even if a little dark for my taste.

Rating: W

“Wild Abandon” is one of MacIvor’s older works; this one is about a young man named Steve, struggling with his feelings of alienation. In one sense, Zach Counsil is perfectly cast as the gregarious young man who cracks a joke one minute and contemplates suicide the next. Counsil has the look of apple pie wholesomeness, and one always suspects there is a dark core to someone whole looks so innocent. Unfortunately, while his stage presence and delivery are fantastic, he does not seem to understand the motivations behind his actions. I do not see him really connecting with his words, even though he brings a lot of energy to his performance. The result is that I do not feel connected to the character and ultimately do not care what happens to him. As for Zach Counsil, he has skills, and I hope that he will continue to develop as an artist so that one day we may see from him a performance that goes beyond the surface.

Rating: Y
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House and Wild Abandon both run June 21-28 in the Saw Gallery as part of the Ottawa Fringe Festival.

The Girl Who Was Eaten by the Dark

Watching an Ottawa Stilt Union show is a bit like seeing Cirque du Soleil: yes, there is a story, but it doesn’t really matter what it is because I am content to sit back and watch what these performers can do!

“The Girl Who Was Eaten by the Dark” is the Stilt Union’s fourth production. It is about a little girl named Grace who is afraid of the dark. When she goes to visit her grandmother in the woods where there are no lights at night, she is forced to confront her fear of what could be lurking in the shadows. There are a few scary looking creatures in this show, and I have heard from friends with kids that it can be a little too frightening for the really wee ones, but the show has a positive message about how to overcome fear. And Grace, played by the charming Elise Gauthier, is a good role model.

These performers can do amazing things: they pick each other up, they dance; and each character has its own distinct physicality. The costumes are wonderful; the company incorporates mask work; and one of the characters is even on four legs - meaning stilts on both her arms and legs! Adding to the magic of this production is excellent live music and song, as well as the natural (just ignore the Laurier traffic) setting of Tabaret Lawn.

A fantastic addition to the Fringe Festival, this show is pass-the-hat and great for families. "Girl Who Was Eaten by the Dark" will also be at the Piggy Back Festival in Wakefield and the Lumiere Festival in Ottawa.

Rating: W
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Girl Who Was Eaten by the Dark runs June 21-27 on the Tabaret Lawn as part of the Ottawa Fringe Festival

We Never Clothed

"We Never Clothed" is a snapshot of two women during WWII who work at the famous Windmill Theatre. One married with kids and a husband away at war, (played by Kate Smith) and one naive and single (played by Amy Lester). The women, just like the soldiers who frequent the theatre, seek to escape the reality that is London during the Blitz.

As explained in their program notes, this setting is a backdrop used to explore the human condition during times of extreme chaos and stress. For example Moira, played by the incredible Kate Smith, is a woman trapped in (as the notes describe) a fractured relationship with a man she secretly hopes does not return from the war.

Several times during the show, there is talk of escape; escape from a bad relationship, escape from the horror of war, escape from reality. And yet as the bombs crash around them and the women huddle together in the dark, we feel how trapped they really are.

As the show moves from musical numbers on stage to the conversations backstage, Moira and Audrey expose themselves to us both literally and figuratively. Emotionally both women are quite vulnerable but there is something powerful about holding down this job performing for soldiers. In this space they feel safe and there is even a brief expression of freedom at the very end of the play - a beautiful symbol of beauty and fragility, and overcoming fear.

The dynamic between these two lovely ladies is fantastic - they are both strong performers and yet very different from one another. Under the direction of Jesse Fraser, the staging is lovely and interesting. The show has a great look to it; and the live piano for their cabaret numbers helps to transport the audience to this other time and place.

Well directed and well acted this show is funny and sad and toe-tappingly entertaining. Probably my biggest complaint is that it's short: and that' s not really a complaint. I do like the one-act format but I was enjoying myself so much that I didn't want it to end. I can only hope these ladies continue their development process and that one day there will be a full-length production.

Rating: W

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We Never Clothed runs in Arts Court Theatre June 19 - 28 as part of the Ottawa Fringe Festival

Heebs and Dweebs: The Amy Salloway Experience

Amy Salloway is an Ottawa Fringe favourite. And as she shares in her performer blog she loves Ottawa. Although she has participated in the Ottawa Fringe for the last few years, this is the first time she is premiering a new work here. Although I have been keenly aware of Salloway and her work, because she is such an amazing self-promoter, "Heebs and Dweebs" was my first Amy Salloway experience.

As such, I am unable to compare this to her previous work but what I understand from others is that typically there is more of a 'show' than the work I saw. In "Heebs and Dweebs", Salloway stands in the centre of the stage and delivers a series of stories, referring frequently to the notes she has on a stand in front of her. This is understandable, as again she does mention in her blog as well as on stage that this work is so hot-off-the-press that she hasn't even had a chance to memorize it.

Normally, I am all over the idea of getting to see new work. But there were some things about this show that I wasn't so turned on about. For one thing, there is no cohesiveness to her presentation. In the show I saw, she told two stories from her childhood, and then a story about present day and an experience she had while in Ottawa, and then a piece about being in high school? And to make matters worse, each tale was punctuated with a musical sound cue and a lights down/lights up. I would have enjoyed more of a through line between the pieces. I wanted something to indicate why she chose these particular stories for this particular time. And maybe even some chit chat between pieces, rather than the blackout and obligatory applause, would have made it feel more connected.

Speaking of being in a particular time, one thing that bugged me about this show was Salloway's refusal to acknowledge the existence of her audience. Don't get me wrong, she is a charming performer, but because of that she does evoke responses from her patrons: laughs, but also gasps or groans, and for the most part she would charge along as though she didn't even hear it. In general I prefer not to be talked at; if I am going to listen to someone speak for an hour, I at least want to feel as though the speaker knows I am there, that we are sharing this time and space. Salloway made it very clear that for her, this is a one-way relationship and I admit I am less interested in that.

I probably would have had an easier time with her presentation style if the subject matter was something I felt I could relate to; most of Amy Salloway's stories have to do with being overweight and Jewish. And while struggling with self acceptance is a universal theme, this show teeters on pity rather than empathy.

All of this led me to consider, and even question, her chosen art form. Amy Salloway is clearly a very strong writer. She has a commanding yet lovely stage presence and a great big voice. But I admit I wondered what about this made it good theatre. She plays with both humour and pathos in that autobiographical "I write for attention and therapy" kind of way. And I get the sense that if she took it further one way, it would make for great stand-up comedy, and if she dug a little deeper the other way, it would be fantastic storytelling suitable for a novel or maybe a collection of short stories.

Bottom line: this show contained lots of entertaining moments, but, I wanted her to invite me in - to let me share in her experiences rather than feeling like a witness. And even though I know this is brand new material, I would have appreciated an effort to connect the dots.

Rating: Y
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Heebs and Dweebs runs June 18-23 in Studio Leonard-Beaulne at the University of Ottawa as part of the Ottawa Fringe Festival.

Eternal Love of Good Writing

Allow me to indulge in hyperbole in order to express how I feel about this show: “Eternal Hydra” is the best script ever. I am in love with this play.

The work has been described as a “postmodern look at the making of a modernist masterpiece” and it totally appeals to the English Lit major inside me. "Eternal Hydra" is the title of an epic modernist novel by Gordias Carbuncle, an Irish Jew who lived in Paris in the 1930s. This epic manuscript is lost after Carbuncle’s death and then miraculously recovered by academic Vivian Ezra who becomes so consumed by the novel, she begins to see and interact with the ghost of Carbuncle. The play begins when Ezra takes the manuscript to publisher Randall Wellington Jr. and it is in his office she meets Pauline Newberry, a novelist whose new book about modern Negro writer Selma Thomas includes a chapter on Carbuncle.

Explaining the plot any further than this would only be confusing: the play takes place in the present, as well as in 1930s Paris and briefly in Civil War New Orleans. The script is dense, but brilliant, which is exactly how the imaginary “Hydra” novel is described. Playwright Anton Piatigorsky weaves the stories of these characters and their differing timelines together so seamlessly that instead of being disjointed the work is entirely cohesive with a delightful flow.

The play is produced by Toronto's Crow's Theatre and ably directed by Chris Abraham. His blocking is such that at any given moment there is a precise picture created on stage. The set and lighting design provided by John Thompson is clean, modern and surprisingly adaptable to the different locations and time frames. The acting was compelling: David Ferry's portrayal of the slovenly novelist with questionable motives (and the fantastic pseudonym: Gordias Carbuncle) is particularly memorable.

From all angles, this is well made theatre. And it stands in stark contrast to most other new work I see. I find that new work generally means collaborative creation, usually based on movement or sound. Whereas this show is anchored in incredibly strong writing: a compelling story and interesting dialogue. While it might be considered long, at no point does this show drag but rather steps quickly along to it’s most satisfying conclusion.

Stepping aside from my obvious infatuation for one moment, I will admit this is not a work for everyone. This is a play that requires your attention, and if you are not willing to follow the eloquent script from beginning to end, and instead are the type to drift off during shows longer than 90 minutes, this is not for you. However, if you have in interest in theatre that is rooted in strong writing, and/or an interest in literature, particularly the concept of the modern novel, I promise you will love this show.

Rating: M
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Eternal Hydra is part of the Magnetic North Theatre Festival and runs at Academic Hall June 9-13.

Jake's Gift is For All of Us

"Jake's Gift" is as simple and as beautiful as storytelling can get. Written and performed by Julia Mackey and directed by Dirk Van Stralen (both from Vancouver), this moving story of Jake, an 80-year old war vet returning to Juno Beach on the 60th anniversary of D-Day is the best war play that isn't about war I've ever seen. Making his first trip to France since the war, Jake meets a precocious ten-year old named Isabelle whose inquisitiveness forces Jake to admit things about his past he has yet to face.

The set-up for this show makes it instantly workable: the audience wants to love a grumpy old man and a cheerful, if sometimes annoying, little girl. And structurally, putting these two characters together makes it easier to have Jake share his personal stories: Isabelle unabashedly asks all sorts of questions and he reluctantly begins to open up. Running through this very simple story are some big themes: loss, friendship, family and love. We are reminded that something as awful as war also has the power to bring people together and that the pain of losing a loved one never really goes away.

Mackey plays all the characters in this piece and while it is true that her transitions between characters are impressively flawless, this is not what the audience focuses on - instead it is the story and the likable characters who keep the audience engaged.

What really struck me at the end of the play, as I wiped the tears from my cheeks and listened to the sniffles of the other audience members, is that this play is really about connection. It is about the connection between the old man and the little girl, between family members living and dead, and between nations: in this case, Canada and France. And it is quite remarkable to me that a single performer was able to convey something so powerful.

This show is simply lovely and I highly recommend it to anyone who has the opportunity to experience it.

Rating: M

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Jake's Gift is part of the Magnetic North Theatre Festival and runs June 6 - 10 at the Canadian War Museum.

Don't Blame the Students

Inspired by an adult graphic novel by the same name, "Don't Blame the Bedouins" by Rene-Daniel Dubois as presented by the University of Ottawa and directed by Kevin Orr, does succeed in having the look and feel of a graphic novel. The design elements, including great costuming and use of projections on the rear wall, work together to create an absurd yet interesting world where two trains hurtle towards one another on the same track. One is driven by Santa Claus (read: the West), the other by a Nazi soldier (read: the East). Tied to the tracks, is a damsel in distress and at a distance, a sexy German man sets out to save her. Also found wandering in this Australian desert is a strange and lonely but brilliant young student.

The subject matter here is incredibly dense and bizarre but Orr has done an amazing job with the casting; there are a number of talented performers in this show. But I have to be honest, I could not get past the long-winded strange-ass script. It was definitely a play I had to force myself to pay attention to; and even then most of the dialogue washed right over me. I am betting it would have been a lot more interesting in graphic novel form, rather than this odd stage version.

It is clear that the impending crash between the two trains represents the fear of the Cold War: Western consumerism as personified by Santa versus Eastern communism, personified by a Stalin-esque character. But beyond this obvious conflict, I am honestly not sure what this play is about.

Of course it is great material to tackle in university: with a mountain of ideas and complicated themes, it is fodder for academic exploration. But I cannot say that translates into entertaining theatre. Blame short attention spans (the show runs nearly two hours with no intermission) or the inability to engage beyond the surface of things, but I found this show excruciatingly long and would not recommend it be viewed by anyone whose motivation was less than the desire for academic excavation.

Rating: Y
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Don't Blame the Bedouins ran as part of the Magnetic North Theatre Festival at Academic Hall June 5 & 6.

Nevermore

"Nevermore" is the beautifully stylized imagining of Edgar Allan Poe's life, brought to the Magnetic North Theatre Festival by Edmonton's Catalyst Theatre. Told entirely in verse and song, this unique piece shows us the tragic events that ultimately informed Poe's macabre writing style.

Visually, the play looks like it has been lifted right out of a Tim Burton film with wildly gorgeous costumes, sinister lighting and choreographed movement to compliment the verse. Production designer Bretta Gerecke and sound designer Wade Staples create a truly dark and haunting world, while choreographer Laura Krewski fits characters into this world by giving them large, exaggerated movements. Exaggeration is probably the best way to describe this show. All of the elements: the design, the writing, the performances, are exaggerated in order to create this dangerous and disturbing world Poe must navigate.

Also exaggerated is the particular point of view that writer/director/composer Jonathan Christensen brings to this biography: Edgar Allan Poe in this telling is almost completely without agency. The events of his life are not driven by the choices he makes, but rather he is bounced from one terrible situation to another by external forces. At certain points in the story, the narrators even physically prevent him from heading in a particular direction, in order that he head towards what is his predestined fate. This perception of Poe as a victim of circumstance is very interesting: even his writing is presented as something he must do, rather than something he chooses to do, as the narrators literally put the pen in his hand and open a book in front of him.

The easy criticism of this piece is that because it is an expository presentation of the events of Edgar Allan Poe's life, and because it is presented in verse, there is a lack of traditional story arc. This means the piece does start to feel long. The audience figures out the formula: death, followed by Poe meeting someone who brings him hope and love, then that person dies, and so on.

It is rare, especially in Ottawa, to see a piece so carefully crafted and excellently executed, that I for one am willing to overlook the predictable plot elements. This show is wonderfully dark and even has some elements of the grotesque. And it is performed by an incredible ensemble of actors from Edmonton.

Definitely a show not to be missed.

Rating: M
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Nevermore plays in the NAC Studio as part of the Magnetic North Theatre Festival June 3-6.

The Anguish of Unfulfilled Expectations

The Old Trout Puppet Workshop gang are a favourite of the Magnetic North Theatre Festival. Returning for the fourth time, this year's production is about the "erotic anguish" of legendary lover Don Juan. As punishment for his life of questionable morality, the now condemned figure must tell his own sordid tale as a warning to others. Don Juan's bad behaviour in life has also landed him the proverbial eternity in chains. And, rather aptly, the chains are connected to Juan's *most famous* appendage (a visual gag that has to be experienced, and so I won't even try to explain). The story begins with the strange and unfortunate circumstances surrounding his birth and upbringing and then follows his development into the selfish, yet charming womanizer we have come to know as the famous lover Don Juan.

There is no doubt the Trouts are a talented bunch. Dedicated to re-imagining the art of puppetry, their previous productions have included such unforgettable moments as the birth of a puppet (complete with a giant puppet womb) in "The Unlikely Birth of Istvan" and a slowly decomposing puppet corpse in "Famous Puppet Death Scenes". Always ready to tackle the bigger questions of humanity, "The Erotic Anguish of Don Juan" is all about love. Even after he is forced to relive the heartbreak and lonliness he both caused and experienced, Juan ends the play as he lived his life: firm in the belief that love is all there is worth living for. After all, how could any of his actions offend when they were only ever motivated by pleasure and the desire to love?

As usual, the visual and technical elements in this Old Trout show are impeccable. Once again, there is a fusion between human and puppet where actors play the various people (and animals!) from Don Juan's past, but their appearance is enhanced by complicated costume pieces such as giant picture frames attached to their heads, that make each player also his own puppet.

Unfortunately, this attempt at ruminations on a theme were not enough to keep this fan entertained for the full 75 minutes. I do admit that after enjoying previous inclusions in MNTF, my expectations were quite high for the Trouts new show. I wasn't entirely let down by them, as the spectacle they present is still magical. But I was bored by this flimsy story; and I am starting to wonder if maybe there isn't another group out there who could do with the spot in the Festival the Trouts have enjoyed for such a number of years. In other words: been there, seen that.

Rating: O

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The Erotic Anguish of Don Juan is part of the Magnetic North Theatre Festival and runs at the GCTC June 4 - 7.

SKYDIVE

"Skydive" is the story of two brothers who fulfill a childhood pact by going skydiving together. The action of the play takes place during the fated skydiving attempt, where the perception of time is distorted and their 30 second free-fall turns into a retrospective that takes the audience through the events leading up to the dive.

The meat of the play is the relationship between the brothers as they explore moments from their childhood, diving into the experiences and the imagination that has shaped them. As the metaphoric gap between these grown up boys is bridged, so are their physical bodies as they hurtle towards the ground.

Of course the coolest thing about the show is that the characters fly; they are suspended above the stage for the entire 90 minutes. The devices used to make the characters fly were quite interesting: they are attached to what looks like a mechanical arm; a simple device called an ES Dance Instrument. The actors attached to the device become like puppets, as the operators perform complex choreographed movements using the actors bodies. The opening sequence, where the audience first sees the brothers in their skydiving free fall, is quite exhilarating.

The movement and choreography are the most captivating elements of this production. The story is strong; however I did not find the script particularly humourous, nor am I amused by countless 80's references. The technical elements were flawless, including a somewhat dark and shadowy lighting design, which at first I thought was a hindrance (because the darkness in a large space such as the NAC Theatre made it harder for me to engage - especially in the more light hearted bits) by the end I understood as a meaningful device. The sound design was particularly amazing, (and I'm not necessarily talking about the 80s music, although it was fun); there was a specific scene with a mosquito that really did sound like it was buzzing around the stage and even into the audience. The follow spots on the actors as they were in mid-air were also quite spectacular.

Realwheels Theatre is the company who brought this show to Mangnetic North. They are a Vancouver based company whose mandate is to "deepen the audience's understanding of the disability experience". Their innovative approach removes barriers not only for audiences, but in this case for the paraplegic who flies. Cleverly, the paratherapy this character repeatedly refers to as helping his brother, is also conceivably what he is undergoing as he’s able to soar above the stage.

Visually, I'd say this show is like nothing I've ever seen. The script is mildly entertaining and the relationship between the men is almost entirely believable. The beginning and the ending of the show are the two best parts; the middle bit gets a bit long. And there are elements of the story, such as the boys’ relationship with their mother, which are introduced but never fully explored. This show is worth seeing - if only for the technical elements (did I mention there's a flying paraplegic?)

Rating: W
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Skydive is on as part of the Magnetic North Theatre Festival, and runs June 4 - 7.