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Spring Awakening –  Understated Pathos

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As timely now as it was when the original play was written over 150 years ago, the edgy musical Spring Awakening is now rocking the stage at the Ruth Page Center for the Arts. This eight time Tony-Award winner might seem a bit aggressive when compared to the normal fares at this venue. Known during the day as a Windy City school for the performing arts, trust me, these baby-faced performers fit right in. Based on the scandalous and subsequently banned-at-the-time 1891 German Play, Spring Awakening,by Frank Wedekind, this coming of age rock musical about the inner and outer tumult of adolescent sexuality has found quite a fan base. Now directed and choreographed by Brenda Didier, this Awakening isn’t played for its shock value, for which I am entirely grateful. With the daily bombardment of car-jackings, stabbings, robberies and assaults on the news, reported four times a day, everyday, including a days earlier red-line public transit assault on well-known local actor and personality, Will Clinger, I am happy a little restraint was shown.

In its initial 2006 incarnation on Broadway, this production raised more than a few eyebrows. Unapologetic themes of teenaged sexuality, domestic and sexualized violence, homophobia and suicide were front and center. I don’t know if it is the fact this material is now sixteen years old, or if this is the fifth incarnation of this material I have seen, or if the stick to measure the landscape of teenaged sexuality for entertainment is now the Zendaya lead HBO series Euphoria, a weekly celebration of substance-abuse and rampant teen-aged sexuality, this production felt almost chaste by comparison. What a difference a decade and a half has made on the desensitization of the audience.


It may seem odd that a musical with storylines featuring masturbation, nocturnal emissions, spanking, sex, suicide and back-alley abortions would end up being an eight time Tony Award-winner, including Best Musical and Best Original Score, as well as a Grammy Award winner, credit former pop star, Duncan Sheik, who wrote the score as his Broadway debut. Partnering with book and lyrics writer, Steven Sater, “Mama Who Bore Me”, “The Dark I Know Well” and “The Song of Purple Summer” have become a routine part of the songbook of Broadway. One last original production note. The original cast featured the pre-Glee pairing of actors Jonathan Groff and Lea Michele before they became “stars”. Now on to the 2022 Porchlight production.

Photo by Liz Lauren

The tortured “Romeo and Juliet” couple are played by Jack Decesare and Maya Lou Hlava. Both have solid voices showcased wonderfully. Justin Akira Kono’s music direction is spot on. The entire cast was in powerful voice. Decesare’s Melchior, the defiant and rebellious leading man, railroaded by all of the adults who surround him. From educators to parents, none of the young cast is served well by their elders. Case in point, Hlava’s Wendla who isn’t given any information on her changing body and how babies are made. Her clearly uncomfortable mother does nothing to embolden or empower her daughter. Heck, she does nothing to even educate her daughter in the simplest of terms. Totally naïve, no internet, no television, no friends and no “Seventeen” or “Cosmopolitan” magazine to consult, when Wendla finds herself in the family way, she is stunned. Stupefied in fact. Her mother then passes her off to an unscrupulous doctor under the dark of night, at which point her fate is sealed.

Photo by Liz Lauren

McKinley Carter and Michael Joseph Mitchell play Adult woman and Adult man, a delicious if not repulsive collection of characters, ranging from parents to educators who continually fail their young progeny in every way. They would fit seamlessly on the couch at Fox News. It is impossible not to draw comparisons to the repugnant similarities of politicos Betsy DeVos, Marjorie Taylor Greene, Ted Cruz and Ron DeSantis, even though the fictional characters were written a decade before these bozos were elected. When their chicanery leads to a student killing himself, they counter with smoke and mirror tactics. These two would have brought marshmallows to the Salem Witch Trials. Both actors nailing the rotten-to-the-core cornucopia of characters they portray.

Photo by Liz Lauren

The supporting cast doesn’t have it any better. Martha, the always engaging Ariana Burks, is physically abused by her father while her mother turns a blind eye. Newcomer Tiffany Taylor plays Ilse, a runaway who fled her home in the middle of winter to escape her parents physical abuse, and who now lives in an artist colony where she is still sexually abused by the male artists. John Marshall, Jr. and Kelan M. Smith play Hanschen and Ernst, a young gay couple who steal a couple fleeting kisses and most of the audience’s laughter. Which leaves me to Quinn Kelch’s character Moritz. An anxious young man and struggling student, Moritz is unfairly and unceremoniously blacklisted by his teachers and then shamed by his father. Completely alienated, he takes his own life. With that said, Kelch’s approach to the character, comically overly exaggerated facial expressions, so distracted from the performance, any sympathy for the character quickly evaporated. Kelch would fit flawlessly in a production of Green Day’s American Idiot, but here, his choice just distracted from the material. It didn’t fit at all and felt like he was performing in an entirely different show than the rest of the cast.

Photo by Liz Lauren

Clearly there was no one busier in the creative team than intimacy director, Kristina Fluty. Every young character plagued by their own confused adolescent intimacy issues, but under Fluty’s eye, nothing seemed too over the top or out of anyone’s comfort zone. Christopher Rhoton’s scenic design elements peppered the stage with determination, creating poignant moments in the corners of the stage. Patrick Chan’s beautiful lighting aided in heart stopping moments when fading to black told more than any gun shot or screaming sound effect ever could. Bill Morey’s costuming paying homage to the original, without busting Porchlight’s obvious budgeting limitations.

Photo by Liz Lauren

Budding sexuality through the eyes of teenagers is a purposely uncomfortable narrative. Spring Awakening could easily be played as one note teenage rebellion, but under the watchful eye of Didier, there are true moments of touching artistry on display. Now, on the political spectrum, I am about as liberal as they come, proudly so. These parents not giving their children even the most remedial information on what is happening with their bodies is just criminal. However, there would be no show if everyone made the right decisions all of the time. I am looking at this show squarely through the gaze of 2022 and not 1891. For any of the shows flaws, and there aren’t many, the ending finale “The Song of Purple Summer” is a stunner. Didier and company served the material well.

Photo by Liz Lauren

Porchlight Music Theatre presents Spring Awakening is now playing at the Ruth Page Center for the Arts  through June 2, 2022.

Photo by Liz Lauren

Photo by Liz Lauren

Photo by Liz Lauren

 

Stephen S. Best is currently a freelance writer for the Times Square Chronicles, covering the performing arts scene in the greater Chicagoland area. He has been a theater aficionado for years, attending his first live production, Annie, at the tender age of six. After graduating from Purdue University, Stephen honed his skills attending live theater, concerts and art installations in New York and Chicago. Stephen's keen eye and thorough appreciation for both theater patrons' time and entertainment dollar makes him a valuable asset and his recommendations key. Stephen currently lives in downtown Chicago.

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Times Square Chronicles Presents The Hamptons

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Since “Live From The Hotel Edison Times Square Chronicles Presents” is so popular, we decided to do a summer edition called “Times Square Chronicles Presents The Hamptons”. We started with the Bay Street Theatre  Gala because it is what we know.,,,,,theatre. The Gala honored Neil Patrick Harris, David Burtka, and Dr. Georgette Grier-Key.

In this episode you can see Richard Kind, Marc Kudisch, Scott Schwartz, Tovah Feldshuh, Lena Hall, Tracy Mitchell, Rose Caiola, Stewart F Lane, Lliana Guibert, Kate Edelman Johnson, Steve Leber and Bonnie Lautenberg and Riki Kane Larimer.

You can watch us here

 

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Soulpepper’s “A Streetcar Named Desire” Clashes Hard and True Against the Backdrop of Jazz and Booze

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It’s the quintessential sound of New Orleans that draws us in. Starting with the iconic rattle of that Streetcar Named Desire, clanging and banging its way through the streets, the unraveling, beautifully unpacked here at Soulpepper, brings a clearly out-of-place, white-clad sister to the door of a home filled with a rough and tumble energy that is as red as she is white. It’s a classic beginning, seeing her stand there, out-of-place and out-of-sync with a subtle modernist flair courtesy of director Weyni Mengesha (Soulpepper’s The Guide to Being Fabulous). It is that visual that delivers Tennesse Williams’ iconic damsel to the door of sister Stella, and we see it in her contemporary touch that this is an undoing worthy of our watch.

The big easy New Orlean chaos is rolled out and unmasked, here and there from time to time (with an energy that I wished I got to see a bit more), as the clashing of types overpowers and fills the stage and down the aisle. Meat is thrown from outside in, by a wife-beater-wearing Stanley, played with blue-collar deliverance by Mac Fyfe (Howland C0./Crow’s Heroes of the Fourth Turning), and caught by the love-struck Stella, played with a straightforward deliberation by a very game Skakura Dickson (Mirvish’s Dear Evan Hansen). Their engagement is effortlessly of that space, etched in the way they look and touch one another before she runs off to watch him bowl. And then she comes, dragging a hard-cased rollie bag down the aisle, banging the floor at each step as if to signal her approach. Or maybe an alarm. Possibly to her own self as much as to the others. It almost screams out, I don’t belong here. That I am a visitor, from another time and place, and this arrangement is a distinct contradiction to the word ‘easy’.

Mac Fyfe in Soulpepper’s A Streetcar Named Desire. Photo by Dahlia Katz

This Soulpepper Blanche, played timelessly as if a relic from some other world by the captivating Amy Rutherford (Segal Centre’s Fifteen Dogs), is worthy of the look the neighbor, Eunice, played to perfection by Ordena Stephens-Thompson (Soulpepper’s Three Sisters), gives as she leaves Blanche to her requested privacy and her secret consumption of Stan’s liquor. Rutherford’s Blanche is vibrant in her false framing, modulating her drawl for full manipulating effect, moment to moment. She gives us a magnificent creation based on nervous intention and supreme denial, pivoting this way or that, depending on the requirement that hangs in the thick air. It’s the smoothest of simulated posturing, that conveys a deft and disturbing downfall waiting in the wings, just behind another type of curtain drawn to protect and hinder inspection under a harsh unforgiving light.

Her statuesque framing is in harsh objection to all that runs around it, swinging and engaging in the smooth wildness of modern New Orleans. The sounds rise up from the edges and behind closed walls, singing and laughing in their jazz-infused joy, but they find no home in Rutherford’s Blanche. Here is the hot-blooded underlying surrounded by hard metal that reveals smokey sexuality when required, that breathes extra life and fire into the roughness of the room, designed to deliver by Lorenzo Savoini (Soulpepper’s De Profundis), with captivating lighting by Kimberly Purtell (Tarragon’s Withrow Park) and a strong sound by Debashis Sinha (Stratford/Soulpepper’s Casey and Diana). This hot musical energy is what I was waiting for as Soulpepper revisits A Streetcar Named Desire, which comes clanging back to their main stage (after a very successful 2019 production). Blanche’s downfall is clear and predetermined, mapped out from the moment Fyfe’s Stanley first sees her, and from the faulty flirtation she throws his way. Blanche is out of her dimmed-light element, and even though Dickson’s Stella tries her best to serve her in the way she likes to be cared for, the escalations of love, lust, and fury will have their way with this damsel in self-created distress. And she won’t have the strength to see her way through the smoke into the reality of the modern world that swirls around them.

Clinging to her distorted past that we hear glimpses of, playing in the background until the shot ends the fantasy, A Streetcar Named Desire delivers magic and the cruelty of realism balanced in abundance. The visuals and the musical energy, courtesy of both Mike Ross (Soulpepper’s Of Human Bondage), the original music director, and Kaled Horn (Shakespeare Bash’d’s As You Like It), the music director of this remount, emphasize the clash, excluding the delusional Blanche from the rest, even as she entices, for a moment, the kindly Mitch, played engagingly by Gregory Prest (Can Stage’s The Inheritance). The costumes by Rachel Forbes (Can. Stage’s Topdog Underdog), push forth the same cultural and societal clash. Stanley and his buddies, played well and true by Sebastian Marziali (“Dark Side of Comedy”) as Pablo, and Lindsay Owen Pierre (“Jack Reacher”) as Steve, are outfitted in your standardized blue-collar constructs, that feel curated from a different era then Blanche, although I never really understood the collection of coats and jackets these guys carry around with them on these hot humid nights. Stella finds herself straddling the timeframes in short shorts that bridge the gap that Blanche’s ensembles don’t. They engage with both, to different effects, igniting Stanley’s passion while also cementing a subtle connection to Blanche and her past life.

The cast of Soulpepper’s A Streetcar Named Desire. Photo by Dahlia Katz.

But it’s Rutherford who our eyes are glued to, and she is a marvel inside her performative Blanche, weaving lies upon lies in hopes of escaping the trap she has created or found herself in. She tries her best to hold it all together, taking hot baths on steamy hot days to calm her nerves, and weaving tales of Southern elitist privilege often in comparison to Stanley’s less refined heritage. It makes her hard to feel much for, on the surface, as she lies and throws attitude, but Rutherford finds her way through the text pretty brilliantly, delivering a woman who is perplexed, anxious, and confused. It’s all wrapped up in one intense performance by one amazing actress. Dickson’s Stella doesn’t stand a chance in that rosy dim spotlight.

It’s no wonder this part is coveted by so many performers, and I’ve seen a few, including Cate Blanchette at BAM, Jessica Lange on Broadway, and Gillian Andersonat St. Ann’s Warehouse. It’s an emotional and deeply complex role that gives an actress such a deviating journey to move through from entrance to heart-breaking exit. Rutherford’s Blanche finds her way into the room inside a unique framing, taking us through an emotional journey that is epic, devastating, and deeply affecting. It’s an extremely complex and modern take on the role, weaving in layers of addictive energy and validating anxiety that feels so deeply integral to Blanche, especially during the incredibly uncomfortable interaction with the young newspaper collection boy, played captivatingly cute by musical director Horn.

Amy Rutherford and Gregory Prest in Soulpepper’s A Streetcar Named Desire. Photo by Dahlia Katz

The time flies by as we watch Rutherford’s wounded, flailing, and righteous-sounding bird struggle to save herself, but Fyfe’s Stanley is too brutal of an animal force to be caught in Blanche’s desperation. He’s also difficult to ignore. He plays it more subtle than loud, unpacking unknown layers that intrigue, even when they don’t add the required heat. The same could be said of Dickson’s Stella who finds her space, but not always the right amount of heat.

At times we are drawn into Blanche’s flawed pain, especially the dramatic sad story of the love that seemed to break her apart. That famous monologue, as it should, destroys, but she’s also too difficult to love and to take. During many of those tense moments, we feel for her sister, Stella, who has no idea how to take care of her or even deal with Blanche’s grandiose facade. The only one who can actually save Blanche from Blanche and her situation is Mitch who attempts to balance the sweet suitor with the desperately defeated man. Prest’s Mitch is far more gentle than most I’ve seen tackle the part, bringing his own dreaminess to the role, but it doesn’t actually mesh well with the resulting pivotal provocative scene that erupts from inside him brought to the surface because of her lies and deceit.

The tension and the rise to violence does float in the air over and within, matched by the music that erupts from behind that wall. And with the loud crash of bed posts against the same, the loud collision elevates the heat and the heaviness, sometimes too fast and furious, changing direction and speed as if the anxiety and the alcohol levels fuel the fire and the fury, without enough underlying formulations. This idea includes the final inevitable collapse of Rutherford’s Blanche, and her disconnect from reality.  It’s a jarring, majestic, and heart-wrenching full-speed crash, and one not to be missed, but somehow it doesn’t hold the framing together as well as I expected.  I wanted more of a build-up; a long fuse leading from one room to another, lit by claustrophobia and an insulting fantasy world. But this one, pushed forward by Fyfe’s Stanley is short, popping up hard and violent into the hot humidity. Yet, as expected, we watch her walk out on the arm of the stranger; a gentleman doctor who is to commit her to a mental asylum, with compassion and sorrow.  Her disintegration into shattered collapse is complete, but the mystery and deluded fantasy of her grand self still holds even if it’s as wobbly as the legs that carry her forward into the night, and up the aisle before our very eyes.

For more go to frontmezzjunkies.com

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A Wickedly Fun Gothic Horror Play, “The Bluffs” Storms the Toronto Fringe Festival

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This might be the first time in decades that I was in town and available to catch at least a few shows at Toronto’s exciting and diverse Fringe Festival, a ground-breaking theatrical platform for indie artists founded in 1989. It’s a wildly popular early-summer extravaganza with more shows than I can even comprehend, let alone take in. I hope to see at least two or three shows this time around as I settle into my new sublet in downtown Toronto, and it all started out extremely well.

I was lucky enough to make my way over to Toronto’s Theatre Passé Muraille Mainspace (16 Ryerson Ave, Toronto, ON M5T 2P3) to see a brand new gothic horror play called The Bluffs. Written with a knowing wise wink by Sarini Kumarasinghe, the one-act play is surprisingly strong in its pulling in. “If it’s not a comfort, it’s a cage,” she writes in the program, “And that is terrifying.” And that is the structuring we find ourselves in, following Eleanor, played captivatingly well by Shelayna Christante, as she reenters a space filled with grief and memories, and a few other surprising visitations. The heaviness is clear and intentional, complicated and vibrating. It’s been six months since her wife had a tragic fatal accident on the lake below their summer Muskoka cottage. And the time seems to have only elevated her dispair and anxiety.

But a podcast, delivered in front of a (far too) blinding light, delivered by Justine Christensen (Let Me In’s The Miserable Worm), is the coping mechanism Eleanor holds tight to, calming her down and easing her through the night. But on the day of her return to this lakeside cottage, she discovers that her frustrated and damaged brother-in-law, delightfully portrayed by Malcolm Green, has been squatting in what once was their familial summer home. Eleanor has entered looking for a way out, as he might be looking for a way in. Yet, she has invited a mysterious neighbour, deliciously played by Cydney Watson, to come take a look at the property in hopes that the woman will take it, and her memories and grief, off her hands. But her brother-in-law has a few choice things to say about her plan, as does the house it seems, and together, trapped by a quickly approaching violent storm, reminiscent of the one that caused the muddy deadly tragedy six months prior, the three must find a way through the flickering of lights and the dark presence that seems to dwell in those very cottage walls.

The playwright wrote that the play “began as a critique of myself and my efforts to be unbreakable, examining how my many misunderstandings of ‘strength’ have coloured my relationships. I struggled to parse two seemingly contradictory versions of strength in my head: the first being bold, brazen demands of respect, appearing as confidence but veering into vanity, and the second being quiet resilience, kind and compassionate but a slippery slope into leniency. It was only by planting flags at both extremes that I was able to recognize the existence of a middle ground and understand that strength has no blueprint; the strongest version of yourself is just the one that keeps going.” And that framework really resonates within this festive gothic horror play, elevating the piece and the performances.

The Bluffs is a whole lot of fun, with a few good chills that caused some hilariously well-timed sounds of shock from the audience, thanks to the finely tuned direction by Jacqui Sirois. The set is a bit cardboard shaky and simple, designed with solid intention by Mike Sirois, with a sound design by Connor Wan and lighting by Vishmayaa Jeyamoorthy (Buddies’ Zom-Fam) that could use some fine-tuning and balancing, but this is a fringe show, and we happily accept the limitations that the rotating scheduling and finances put on these creatives. I did sit in a seat directly in line with the podcast’s blinding light, which was uncomfortable and required constant shading of my eyes, but that was just some bad luck on my part.

But I must admit that I was pleasantly surprised by the clever construction of this campy gothic horror play, and hope that it has a life beyond these Fringe Festivalwalls to expand and be elevated. I also hope that I’m as lucky with the next few shows that I intend to get into over the next week or so – although I must admit tickets go fast and furious for this event, which is also the pleasantest of surprises. You gotta love how Toronto embraces this festival, with crowds lining up and snatching up tickets like hotcakes, with a robust schedule of events from Wed, Jul 3, 2024 – Sun, Jul 14, 2024. And hope it continues long into the future, so buy and tap that donation box to keep this wonderful event thriving into the future. For more information, click here.

For more go to frontmezzjunkies.com

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The Toronto Theatre Report: Buddies in Bad Times Theatre Season 2024-25

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Ted Witzel, Artistic Director of Buddies in Bad Times Theatre, announced the company’s 46th season, a full year of programming, held by the phrase “Queerness is Divine Mystery,” co-curated with Buddies’ Artistic Associate Erum Khan.

The works in this season, witzel’s first at the helm of the mainstay queer institution, seek out queerness not only as identity but as a way of being and acting in the world. Together Khan and witzel have pulled together works that gesture at audacious, poetic expressions of queerness, reaching toward the expansive and the divine.

The season features: rarely performed masterwork Roberto Zucco by Bernard-Marie Koltès translated by Martin Crimp; the world premiere of Oraculum created by drag artists and Canada’s Drag Race finalists Denim and Pythia; the Toronto premiere of There is Violence, There is Righteous Violence, and There is Death or; The Born-Again Crow by Caleigh Crow; Genrefuck, a series of curated, movement-driven solo pieces; and the 46th iteration of the Rhubarb Festival. Plus, New Ho Queen moves in as Buddies’ first-ever party-in-residence.

The season also includes the Canadian premiere of Shedding a Skin by Amanda Wilkin in association with Nightwood Theatre, and the world premiere presentation of Last Landscape from Bad New Days.

Buddies will also launch I Won’t Envy a new podcast series where artist Vivek Shraya leads intimate one-on-one conversations with fellow artists who disclose their experiences with professional jealousy.

All of our anchor works this season touch on transformation and ascension to the level of the mystic, gesturing toward a transcendent energy inside of queerness,” says witzel. “Buddies is the world’s largest and longest-running queer theatre company. Locally, we’re known as a sacred venue where Toronto’s queer creative heart beats (and flutters, and pounds). We know that these shows and artists will push us to dream big, and help (re)introduce Toronto to Buddies as a place to encounter the pleasure of a disobedient, experimental edge within an otherwise well-mannered artistic landscape.”

This is Buddies’ first full season under a new vision and leadership team, helmed by witzel, with Artistic Associate Erum Khan, Operations Director Kristina Lemieux, and Producer Aidan Morishita-Miki. Visit BuddiesInBadTimes.com to learn more.

THE SEASON
Proud Season Partner: BMO

Roberto Zucco
By Bernard-Marie Koltès translated by Martin Crimp
September 15 to October 5, 2024 | Opens September 19

ted witzel directs the season opener, a neo-noir masterwork from legendary postmodernist French writer Bernard-Marie Koltès. Set in France in 1989, and written as Koltès was dying of AIDS, the play traverses the realms between true crime and mythic fantasy. It delves into the criminal underworld of Europe, offering a critique of rampant capitalism and liberal family values.

Witness the living through the eyes of the dead. Roberto Zucco lures us into the wet streets and gloomy rooms of 1980s Europe, where a charming antihero battles his cosmic urge to kill. Koltès’ sordid swan song is Greek tragedy kissed by Gregg Araki—breathlessly violent but with a pitch-black wit and occasional syrupy sweetness that leaves you disarmed. It shines a blistering sun on our darkest impulses; by the end, you’ll wonder if we’re just flightless birds in the face of our fates.

Nuit Blanche
October 5, 2024 | All night long
Buddies and Nuit Blanche have been eyeing each other across the dance floor and finally hooked up—and obviously, the result is sexy. We’re bringing you a full-facility function that bridges underground scenes.

The intersecting and overlapping projects taking over the theatre’s historic building echo the makeouts and sweat stains of years of parties and performances. We’re serving you ballroom with performances by FakeKnot and DJ sets by Karim Olen Ash, and a touch of whimsy with pop art performance duo xLq. Leave a love letter to your missed connection in Buddies’ glittering bathrooms before you crawl home. You won’t sleep a wink (but if you did, this is the party you’d dream of).

Next Stage Theatre Festival
October 16 to 27, 2024
Presented by the Toronto Fringe
Next Stage is Toronto Fringe’s curated, boutique festival—an elevated performance experience where audiences can access artistically rigorous work from new producers ready to bring their shows to the “next stage” of development. Returning to Buddies for a second year, the festival once again offers six dynamic pieces across a range of forms, alongside community programming, parties, and professional development opportunities. Visit FringeToronto.com to see the full lineup.

Oraculum
December 1 to 15, 2024 | Opens December 5
A Buddies in Bad Times and Denim and Pythia co-production
Get a glimpse into the enigmatic imaginations of two of Canada’s premier drag artists. Denim and Pythia take you on a journey of self discovery and divine mystery, as filtered through the crystal ball (or computer screen rather) of an online psychic reading website. Combining performance, puppetry, and projection into an otherworldly spectacle, Oraculum pulls back the velvet curtain on gender and spirituality.

Last Landscape
January 12 to 26, 2025 | Opens January 14
Bad New Days, in partnership with Common Boots Theatre
In a sometime somewhere devoid of nature, clownish ‘workers’ enter an empty space and assemble a series of artificial landscapes, striving to recreate the natural world from memory. But are we seeing the deep past? Or some genetically modified future? The world premiere of Last Landscape, conceived and directed by Adam Paolozza, employs Bad New Days’ signature brand of physical theatre, offering a playful meditation on extinction, ecological grief and interspecies care, where colossal puppets of prehistoric megafauna roam free. On the brink of environmental collapse, it offers brave new possibilities for how we might share this big green miracle/marble.

Rhubarb Festival
February 13 to 23, 2025
Rhubarb is Buddies at its rawest—a hotbed of unruly creatives queering what it means to make and experience art. Multi-disciplinary curator Ludmylla Reis helms this 46th iteration of Canada’s longest-running genre-bending live arts festival. Make sure you stay hydrated (Tallulah’s Cabaret can help with that).

There is Violence, There is Righteous Violence, and There is Death or; The Born-Again Crow
March 9 to 29, 2025 | Opens March 13
A Buddies in Bad Times and Native Earth Performing Arts co-production
Directed by Jessica Carmichael
Queer Métis theatre artist Caleigh Crow tends towards themes of metaphysics, class struggle, magic, and serious whimsy. This is the Toronto premiere of her Indigenous Voices Awards-nominated play, directed by Jessica Carmichael.

In There is Violence, Beth wants to burn it all down: the coconut milk section, the lady razor section, the healthy snacks section. The whole damn superstore. She only makes it to the magazine rack, but her act of resistance (or “public breakdown”) gets her fired and lands her back with her mom in the suburbs—where a talking crow shows her how to harness her powerful political rage. A cul-de-sac gothic with a searing punk sensibility, There is Violence reads like an unearthed X-Files episode the suits were too afraid to air. It demands that we acknowledge our fury. Because how else can we feel real?

Shedding a Skin
By Amanda Wilkin
April 22 to May 4, 2025 | Opens April 24
A Nightwood Theatre production in association with Buddies in Bad Times
On the 15th floor of a London tower block, a revolution takes place. Myah has ejected herself from a corporate hellscape only to crash-land in the spare room of an elder named Mildred—an evasive auntie with laminated house rules and hidden wounds. But healing takes many shapes, and sometimes it looks like sneaking your roommate’s duckanoo.

Shedding a Skin is a one-woman buddy comedy for the heartbroken—a series of exquisitely observed, quietly radical scenes that offers a hand to those feeling the weight of the world. Drop your baggage at the door. Connection is resistance.

Canadian Premiere. Directed by Cherissa Richards.

2020 Winner of The Verity Bargate Award.

Genrefuck
May 14 to 31, 2025
Never Walk Alone by Julie Phan | Goner by Marikiscrycrycry | Reina by Augusto Bitter & Bijuriya by Gabriel Dharmoo
A Buddies in Bad Times performance series in partnership with fu-GEN Theatre, PNSNV, and Pencil Kit Productions
Four movement-driven solo pieces. Four audacious artists. Buddies offers space for intimate works to converse and collide through a series of rolling double-bills pairing local works with touring shows. This new platform features work from Julie Phan, Marikiscrycrycry, Augusto Bitter, and Gabriel Dharmoo.

Bitter’s world premiere Reina envisions the many lives of the anonymous woman depicted on a bag of Harina P.A.N. corn flour, as Phan’s world premiere Never Walk Alone uses endurance pole dance to spin a story of family, burnout, and economics. Dharmoo’s Bijuriya code-switches between drag, song, and sound as it navigates its creator’s dual personas, while the Canadian premiere of Goner reimagines Black horror aesthetics for a live context through fearsome and sensuous choreography.

This is art on the edge of gender and genre. Welcome to Genrefuck.

AND MORE!…

Vivek Shraya’s I Won’t Envy
A podcast by Vivek Shraya co-produced with Buddies in Bad Times

I Won’t Envy is a new podcast series where award winning author and artist Vivek Shraya has intimate one-on-one conversations with fellow artists working in various fields—including performance artist Alok, musician Sara Quin (from Tegan and Sara) and writer Alicia Elliott—who disclose their experiences with professional jealousy.

In Season 1, launching this October, we’ll talk about when artists have felt most triggered, how they have managed (sometimes poorly) this feeling, and what they have learned from their jealousy.

I Won’t Envy will change how you think about jealousy being an emotion that we must feel ashamed about.

Party in Residence: New Ho Queen
An event should suspend time and create worlds. If you think that’s too high a standard, just watch us. We know that parties are an art form—and so does New Ho Queen, our first-ever party-in-residence. With Queer Asian Love at the heart of all they do, New Ho Queen is a collective of artists, leaders in design, performance, film and fashion, that work together to produce joyful, new dance floor experiences. If you were lucky enough to be at their Lunar New Year party last year, you know what we’re talking about. They’ll be celebrating the Year of the Snake at Buddies (so we suggest you start prepping your look now).

Tallulah’s
Like its ambisextrous namesake, Buddies’ in-house bar and performance space Tallulah’s Cabaret does it all. It’s throbbing club nights and community tap dance lessons. High-concept drag and low-stakes open mics. Go for pre-drinks but stay late for the post-show discourse—maybe even spark that next collaboration. With local brews and sober options that aren’t an after-thought, Tallulah’s is the come-as-you-are bar for old friends, new lovers, partiers, poets, and curious passerby. See you under the chandeliers.

Tallulah’s Cabaret is open Wednesday to Sunday from 6:00 p.m. to midnight (or later). Check out buddiesinbadtimes.com/events or @tallulahscabaret for the upcoming calendar.

Tickets for the 2024-25 season go on sale this August.

Buddies in Bad Times Theatre is the world’s largest and longest-running queer theatre. For 46 years, Buddies has carved out a sexy, disobedient edge in Toronto’s theatre scene and has been a world leader in amplifying queer voices and developing their stories for the stage. In its year-round theatre season, Buddies is a home for artistic risk—a place where emerging talent hone their radical visions, and where established artists to do the daring works other theatres might shy away from. Since 1979, Buddies has welcomed over one million audience members and premiered over 1,000 new works for the stage.

For more go to frontmezzjunkies.com

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Hampton’s Events: Bay Street Gala Maybe They’re Magic

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Tonight is the Bay Street Theater’s Summer Gala, at the theater in Sag Harbor. The evening is a fundraiser to support Bay Street’s numerous educational programs with this year’s honorees: Broadway show stopper Neil Patrick Harris, star of stage, screen (and food!) and his husband, Broadway actor David Burtka, and community leader Dr. Georgette Grier-Key, the executive director of the Eastville Community Historical Society in Sag Harbor.

In addition to delectable food, creative cocktails and a live auction with celebrity auctioneer Richard Kind, the evening will feature an all-star performance. This year’s gala is titled “Maybe They’re Magic” and it will focus on the magic of Stephen Sondheim, as Harris and Burtka have both performed in Broadway shows by Sondheim.

Echoing Harris’s love of magic and magicians, the theme of magic will continue throughout the evening in the decor of the theater as it is transformed into a place of wonder, merriment and enchantment in the presence of a professional magician who will mystify guests as they eat and drink. The magical performance will be directed by Bay Street’s associate artistic director Will Pomerantz with musical direction by James Bassi, and will feature host/performer multi-Tony nominee Marc Kudisch, Broadway sensation, Tony Award-winner Lena Hall and many more. After the performance, celebrity auctioneer Richard Kind steps up to the block to wrangle bids on some epically fabulous experiences including: A walk-on role for Bay Street’s upcoming production of Mel Brooks’s “Young Frankenstein — The Musical,” a dinner for eight created by Chef Matteo, formerly of Ristorante Le Cirque, and a brunch for 20 with a view of the Thanksgiving Day Parade in New York City from a Central Park West windowed apartment and much more.

“The gala is always THE biggest and most important fundraising event of the year as it helps support all of the artists who work at Bay Street as well as the educational programming that lie at the center of Bay Street’s mission,” says Tracy Mitchell, Executive Director. “Bay Street works hard to create inclusivity for everyone including ‘Pay What You Can Nights,’ ‘Free Student Sundays,’ free theater for schools every fall, and so much more. Bolstered by a policy that “Anyone who wishes to have access to the arts will have it, we promise you that your investment will go far at Bay Street Theater.”

For more information and tickets, visit baystreet.org or call 631-725-0818. Bay Street theater is on Long Wharf in Sag Harbor.

Check out our covrage in our newest columns and podcast in the next coming day on “Times Square Chronicles Presents Live From The Hamptons”.

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