Flowers of the Rarest: More thematic development would make it rarer

publicity photo for Flowers of the Rarest

Gabrielle Rose as Biddy in Flowers of the Rarest

On one level, I was seduced by the understatement of this production and the fine acting it contains. But, about halfway through watching Flowers of the Rarest, I wrote in my notebook, “I’m ready for some plot development” and, a bit later: “Besides plot, what is there to think about?”

Gerrard Plunkett’s new script is set in a Magdalene laundry in Ireland in 1923, the last year of the Irish Civil War. The Magdalen laundries were vicious institutions that imprisoned first prostitutes, then unwed mothers, and even women and girls who had never had sex — under the guise of reforming them. Incarceration could go on for life. These women and girls were abused and exploited for their labour by both Protestant and Catholic churches.

In the small group of women we meet in Flowers of the Rarest, Biddy is determined to help young Rose escape. Mother Anne, the mother superior, is sexually assaulting Rose.

[Read more…]

Me Love Bingo!: Best in Snow — Save your money. Don’t waste your time.

publicity photo for Me Love Bingo!: Best in Snow

Leslie Dos Remedios and Kyle Loven (Photo by Moonrider Productions)

How did this show ever get programmed into the Arts Club’s season? The Arts Club is a professional company. Me Love Bingo!: Best in Snow is not of a professional standard.

For Best in Snow, set designer Ted Roberts has turned the Newmont Stage into a bingo hall, so most of the audience sits at long, bingo-style tables. The best thing about the evening is that it provides an opportunity to chat with your table mates. I want to thank the single gay man, the four female friends, and the handsome straight couple for being fun. I also want to thank my companion, who left at intermission and sent me a text saying, “I just couldn’t take anymore. I hope it’s over now.” [Read more…]

The Messiah: The silliest story ever told (That’s a compliment.)

publicity photo for Pacific Theatre's The Messiah

The happy couple: Peter Carlone as Mary and John Voth as Joseph
(Chelsey Stuyt Photography)

You have to be smart to be dumb. Or wily. Or at least have good instincts. Okay, I don’t really know how they do it, but, playing a couple of goofballs in Pacific Theatre’s production of The Messiah, Peter Carlone and John Voth are very funny and very engaging. [Read more…]

Mom’s the Word: Talkin’ Turkey is not a turkey

publicity photo for Mom's the Word: Talkin' Turkey

I didn’t enjoy the number, but Barbara Clayden’s costumes are pretty great in this riff on The Nutcracker.
That’s Deborah Williams, Alison Kelly, Barbara Pollard, Robin Nichol, and Jill Daum.
They are on Pam Johnson’s set.
(Photo: Moonrider Productions)

I cried. I was bored. I laughed. Mom’s the Word: Talkin’ Turkey, the latest in the Mom’s the Word series, is inconsistent but, when it lands, you feel it.

The Mom’s the Word shows date way back to 1993, when a group of theatre professionals, who were all raising young kids, got together to create a performance about motherhood for the Women in View festival. Hilarious and moving, the first Mom’s the Word became an international hit, and five of the six original creators have kept pumping out sequels since then. This one is about the challenges of the Christmas holidays — and the specific stresses of sharing them with your adult kids, aging parents, and in one instance, a dead spouse.

All of the stories are personal to the women who perform them, and they’re presented in a revue format that includes heartfelt sharing, outrageous anecdotes, and occasional songs.

I’m a fan of the heartfelt sharing and the lashings of wit. In a prime example, Alison Kelly remembers a Christmas when she hung a thousand origami cranes over the crib of her tiny, premature son, who was in the neonatal intensive care unit, willing him to survive. Then Deb Williams cuts in with, “He lived. He’s 34. You’ve got to find a better story.” [Read more…]

Blue Stockings: Feminism 101

publicity photo for Blue Stockings

Kevin Nguyen and Zoë Autumn in Blue Stockings (Photo by Emily Cooper)

I wish there was a time store where I could go and demand a refund.

The subject matter of Jessica Swale’s 2013 script is potentially fascinating. Set in 1896, Blue Stockings is about women’s struggle to be granted degrees at Cambridge University. The story features four female students, all gifted scientists, who are members of Girton College, the first college at Cambridge to accept female scholars. If the push for accreditation is successful, these four could be the first women to receive formal degree qualification.

But Swale’s script is politically heavy handed, and it doesn’t find its focus until the second act. Including intermission, the evening clocks in at three hours. (When I realized there was going to be a second act, I suppressed a moan.) [Read more…]

No Child… : Yes, child!

Celia Aloma, Arts Club Theatre, No Child...

Celia Aloma reminds us that live theatre is all about embodiment. (Photo by Moonrider Productions.)

Are you looking for a really good reason to go back to the theatre? Here you go: the Arts Club’s production of Nilaja Sun’s No Child… will remind you what it’s all about. [Read more…]

A Hundred Words for Snow: but where’s the subtlety?

Hundred Words for Snow, United Players, Vancouver theatre

Hana Joi does her best with clumsy material in A Hundred Words for Snow. (Photo by Doug Williams)

This is the first time I’ve attended a live performance since the beginning of the plague, so I’m going to start off by talking about that.

Going in, I was mildly freaked out; I’m 68 and I’m taking immunosuppressant drugs. Because I’m vulnerable, I wore a mask and a face shield. But I ditched the shield after about eight minutes because it made me feel like I was in another room. Besides, I was aware that United Players, the producing company, was taking good care of me. [Read more…]

Take d Milk, Nah?: Yeah, take d milk

Take d Milk, Nah? is playing at The Cultch.

According to Jivesh Parasram, Hindu cows don’t say moo.
He’s in a position to know.

I’ve been so bored in the theatre so often lately that I’ve been starting to wonder if I’m dead inside. That’s why I’m feeling so high right now:  Take d Milk, Nah? kept me consistently stimulated and engaged. [Read more…]

Mother of the Maid: a theatrical strategy that doesn’t work

Pacific Theatre is producing Jane Anderson's Mother of the Maid.

Anita Wittenberg is a better actor that we get to see in Mother of the Maid. (Photo by Jalen Laine)

With Mother of the Maid, Pacific Theatre offers a pedestrian interpretation of a superficial script. It’s not terrible, but it’s not rewarding.   [Read more…]

Jesus Christ: The Lost Years. Why?

Monster Theatre is presenting Jesus Christ: The Lost Years at the Havana Theatre.

This undeniably excellent poster is by Kurt Firla. (It’s the Fringe version; ignore the dates.)

There’s nothing seriously wrong with Jesus Christ: The Lost Years. And there are some things that are majorly right. I’m just not super clear on why it exists.

In this hour-long show, writers Ryan Gladstone, Katherine Sanders, and Bruce Horak imagine what Jesus might have been up to between the ages of 13 and 30, during which time he disappears from the historical record. In their telling, Jesus is traumatized when he finds out that Joseph isn’t his biological father and sets off in search of his “real dad”. [Read more…]

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