review. Idomeneus @ Soulpepper

I love seeing this kind of work on Canadian stages, particularly stages of this size and reputation, and not just relegated to an indie company with a 50 seat capacity. Soulpepper's production of Idomeneus challenges the audience with form, providing a starkly minimalist, brutal set, with actors in anachronistic modern costume. The adaptation by German Roland Schimmelpfennig (which premiered at Bavarian Staatsschauspiel in 2008) plays both with an irreverence to the language itself, injecting modern phrases within the more traditional speeches and images, and also with a take on the unreliability of memory and how stories are told -- poignant in our "post-truth" times. At times the irreverent language feels out of sorts (I wonder whether it was smoother in German), but as a whole, it is a relevant update to the ancient text. 

The production itself was uneven, at times feeling like there was no clear sense from the company on what the tone should be; some actors spoke the text with a classical & declamatory style, while others spoke it in a more colloquial and contemporary manner, with still others in between. Couple this with a rather static choreography (the only real movement seemed to occur in the dark, or in vague and displaced choreographed movement scenes devoid of text), and unfortunately despite the electricity of the language and imagery in this brutalist space, the production fell short of leaving me electrified. In some sense, it felt like the idea of a German production, actualized by Canadians not steeped in the postdramatic style. 

All this said, in no way do I discourage people seeing it, as it is boldly un-like work you will see on major stages elsewhere in this country, and for that reason alone it should be on your list. Now, for us to make more....and do it even more successfully. 

review. The Last Wife by Kate Hennig @ Soulpepper

I went in knowing next to nothing about the production, and from the first moments was captivated. Telling the story of Henry VIII's last wife, Catherine Parr, and her relationship with the King, her lover, and the King's children, it takes a starkly modern view of language and relationship. Though the source material is history, the script is incredibly modern, filled to the brim with razor sharp wit and deep truth about the complexities of love. 

Maev Beaty is sublime as Parr, who is every bit the intellectual equal (if not superior) to the King. She faces off against Joseph Ziegler's Henry, who is infuriating and tempestuous, yet also kind when he chooses to be. The three children are delightfully modern - as the gothic older teen, Sara Farb oozes acidic disdain for the adults around her, while Bahia Watson is charming as the younger Elizabeth, sweet and innocent, but increasingly wise to the challenges presented to her by her gender and position. 

The design must be mentioned here as well; the modular and very simple steps transform into multiple spaces with ease, and the costumes each hold a visual reference both to pop culture, and to their historical counterpart. The lighting complimented this beautifully, and served to underscore the importance of characters in the story. 

Hennig's script creates 6 challenging characters, and 3 incredible women that are a gift to actors. It isn't often you come across a new play that holds such an inherent timelessness in its understanding of relationships and power. This play needs to be on the reading lists for every University's theatre courses in Canada. Now. 

review. Jitters @ Soulpepper Toronto

The recent Soulpepper re-mount of their revival production of David French's Jitters punched well above my expectations. I attended expecting a little nostalgia in a period-staged production, however was very surprised when the key ideas of the play -- those of Canadian artists' inherently self-deprecating natures, and of the idea that only those who leave are truly stars -- resonated as incredibly contemporary and relevant. These are still conversations that we have, and problems that we face, although I would suggest that these feelings are much more prominent now in the regions than in Toronto. Toronto artists (and to some extent, Montreal artists) have grown in to the confidence in their own work that does not need outside approval. Regional artists and companies, in my experience, are less so, depending on the validation of a director, actor, or first production elsewhere to be confident. This is changing, but I couldn't help but wonder how this play in today's world would have resonated differently for a regional audience. In Toronto, it played as a funny and honest homage to our past. Elsewhere it might look all too familiar to the present. 

All this aside, the production is wonderfully performed and staged, and absolutely hilarious. So go see it!