Centaur Theatre’s “Butcher” a sharp, suspenseful play

It was supposed to be an uneventful Christmas Eve night shift for Inspector Lamb of the Metro Toronto Police Department. But when an elderly man is dropped off at the station by a couple of teens – wearing a Santa Claus hat, a disheveled military officer’s uniform and speaking a strange sounding Eastern European-type language – and what will be discovered about this homeless man by the time Christmas Day roles around, will be ugly, disturbing and shockingly revealing. This is the gist of “Butcher”, the latest production of the Centaur Theatre’s 2015-2016 season, which is thrilling audiences from now until November 29.

Throughout the 90-minute production, layer upon layer is unraveled to reveal the dark secret about this old man, especially by the interpreter/nurse who is called into the station in the middle of the night to help Inspector Lamb with his investigation (as well as treat the old man’s feet, which are bloodied thanks to having all his toenails pulled out); in actuality, this old man was a general in the army of the Eastern European country that he came from, and was one of the main people responsible for a series of heinous war crimes and a genocide in that country (which directly affected the interpreter/nurse); basically, she is not there to aid the old man, but to mete out her vengeance for the crimes that he committed in her native country, hoping to get that sense of closure and justice that an international war crimes tribunal could not accomplish.

“Butcher” is an intense story of deception, genocide, trauma, and the burning question of what is getting that sense of justice, and if taking the law into your own hands is really worth getting justice. There are plenty of great performances across the board from the four-member cast, and kudos to Chip Chuipka, Alain Goulem, James Loye and Julie Tamiko Manning for their exceptional acting that keeps the audience’s interest – and in constant suspense – throughout the production. Additional kudos go to Evita Karasek for the great set that captures the grittiness of a typical urban police station ... even with its own steady rainfall! And the ongoing plot twists really makes "Butcher" an engrossing, thrilling, thought-provoking night at the theatre that cuts right to the bone; it’s a don't-miss production at its highest level. For more information, or to purchase tickets, call 514-288-3161, or go to www.centaurtheatre.com.

Funny Girl a "hello, gorgeous" way to launch Segal Centre's 2015-16 season

For nearly 50 years, theatre and movie audiences knew about the late vaudeville comedienne Fanny Brice through the memorable portrayal of her by Barbra Streisand in the 1964 hit Broadway musical "Funny Girl", and the subsequent 1968 film version (which earned Streisand an Oscar for Best Actress). If it wasn't for that -- and if you never heard old recordings of her 1930s radio comedy series "Baby Snooks" or seen one of her rare filmed appearances, such as MGM's "The Ziegfeld Follies of 1946"-- then Fanny Brice would, for most part, be largely forgotten.

To launch its 2015-2016 season, the Segal Centre for the Performing Arts has decided to stage an ambitious production of "Funny Girl", and it succeeds tremendously by offering a lively, highly-spirited show that focusses on Fanny Brice, the superstar of the Ziegfeld Follies during the 1910s and 20s, rather than how she was seen through Streisand's legendary portrayal.

Although the role of Fanny Brice is automatically associated with Barbra Streisand, Gabi Epstein does a remarkable job in the lead role. The best thing is that she doesn't emulate Streisand, but recaptures the spirit of the actual Fanny Brice (in fact, at the beginning of act two, there was I moment I thought Ms. Brice actually came back to life!). We see Fanny Brice as the product of New York's teeming Lower East Side neighborhood at the turn of the 20th century, who through her brassy, self-deprecating sense of humour, transformed herself from an awkward vaudeville chorus member to the comedienne who became the toast of Broadway. Also, we see the personal side of Brice, as she struggles to balance a successful showbiz career with her on-again, off-again marriage to notorious gambler Nickie Arnstein, which provides a lot of joy and heartbreak for her. If that was Ms. Epstein's intention when she approached the role, then she passed with flying colours.

The set design is simple, yet effective; they consist mainly of a series of rolling racks of clothing and costumes, and within an instant, can magically transform itself from a backstage dressing room in a Broadway theatre, to a train station ticket window, to an East Side tenement, to a Long Island mansion. What I found striking about the set design is the life-sized, unblemished, full facial photo portrait of the real Fanny Brice that was taken at the height of her fame, which practically dominates the backdrop. It's almost like she is watching over the production as its conscience, making sure that Ms. Epstein and company are doing justice to the story of her life. As well, the costumes are great and the lively musical numbers really gives you a sense of the golden age of vaudeville in America as seen through the life and career of one of its funniest and brightest stars. It's now playing at the Segal Centre until November 8. Don't miss it! For more information, or to purchase tickets, go to www.segalcentre.org.

Canadian road flick "Borealis" an enlightening must-see

"Borealis" co-stars Jonas Chernick (left) and Joey King

At this year's Montreal World Film Festival, which concluded its 39^th edition this past Labour Day (Sept. 7), I managed to catch only one film, and what a really good one it is! It's the Canadian feature called "Borealis" by Sean Garrity, which had its world premiere at the MWFF, and it's a road trip movie with plenty of humour and humanity. Starring Jonas Chernick (who also co-produced the film and wrote its screenplay) and Joey King, it tells the story of a rather dysfunctional father and daughter (the former is a chronic gambler who owes a crushing debt to a violent bookie -- played to scene-stealing perfection by Kevin Pollak -- and the latter a rebellious teen who is gradually losing her sight to a visual disorder) who hit the road from Winnipeg to Churchill, Manitoba so they can catch the natural wonder that is the Northern Lights, as a means of re-establishing their fragile family ties. From beginning to end, you really care about the main character's respective quests -- both naturally and emotionally -- and hope they are reached with success. So if you would like an entertaining, reaffirming time at the movies, "Borealis" delivers it with flying colours. I wish the film a great deal of success, as it heads to the Vancouver, Calgary, Edmonton and Sudbury film festivals before its general release in theatres across Canada early next year. For more information about “Borealis”, go to www.borealisthemovie.com.

Centaur Theatre caps 2014-15 season with triple-tiered smash "Triplex Nervosa"

The Centaur Theatre capped off its 2014-2015 season with a comedy that’s a triple-tiered smash.

“Triplex Nervosa” by Marianne Ackerman, tells a series of interwoven stories in the life of a triplex apartment complex in the increasingly trendy Mile End district of Montreal, in the midst of the 2008 financial crisis. Tass Nazor is the landlord of the triplex in question, and has hired Rakie Ur, a Russian immigrant to be her new superintendant and enforcer to a hermit-like tenant who is delinquent with the rent. As if she doesn’t have enough problems, Tass has to deal with another tenant who plans to leave, but not until he sells his property in T.M.R. (which delays her plans to have his apartment entirely renovated), a young Westmount woman who is getting over a bad break-up and considers renting one of the apartments so she could convert it to an art studio, and a Chassidic rabbi who formerly owned the triplex, who is a questionable business negotiator and admits he could have gotten a better deal for Tass if she was a man (or was married).

When Max Fishbone (the hermit tenant) dies suddenly, Tass and Rakie worry that the police will think they played a part in his mysterious death, which could mean the end of Tass’ triplex ambitions.

This production works so well mainly because of the strong ensemble of local actors that make up the cast. It is so well-anchored by Holly Gauthier-Frankel as Tass, the harried, stressed out landlord, who plays the part with so much comic nervous energy as she copes with all the compounded aggravation she experiences that gives her a big triplex headache. Also, special shout outs go to scene-stealers Karl Graboshas as superintendant/enforcer Rakie Ur, and Cat Lemieux as Montreal Police Sergeant Tremblay, in which the scene where she questions Tass and Rakie after Max Fishbone’s death, is a fun piece of comic repartee which allows room for some well-placed ad-libbing (especially when it involves a crumbling slice of pizza).

So whether you lived in a duplex, triplex or apartment building as a landlord, super or tenant and know all the foibles, pitfalls and aggravations of being one of the three, “Triplex Nervosa” offers an entertaining – albeit temporary – antidote to the stressful world of rental properties; it’s playing at the Centaur until May 17.

Cote St. Luc Dramatic Society goes back in time to 1960s Baltimore with “Hairspray: The Musical”

The Cote St. Luc Dramatic Society’s past 12 months have been good, to say the least.

Last spring, their high energy production of “Catch Me If You Can: The Musical” played to sold out crowds and critical acclaim. Then last October, the production garnered a Montreal English Theatre Award (META) nomination in the community theatre category. Then this past January, “Catch Me If You Can” was remounted for a brief run at the Segal Centre which was just as successful as its original run.

So how do you follow this tough act? By going back in time to Baltimore of the early 1960s in all of its bouffant hairdo glory with “Hairspray: The Musical”, which will playing at the Harold Greenspon Auditorium, 5801 Cavendish Boulevard, for 19 performances from May 28 to June 14.

Based on the hit Broadway musical, which in turn is based on the classic cult film comedy directed by John Waters, “Hairspray” focuses on Tracy Turnblad, a plump and spunky young girl in 1960s Baltimore whose ambition in her young life is to become one of the regular dancers on “The Corny Collins Show”, a popular American Bandstand-type TV teen dance show. But on her way to local TV stardom, Tracy is made aware of the rampant racial segregation in her hometown, as well as the struggles of the black community in Baltimore, and becomes an early crusader in the burgeoning Civil Rights Movement.

“Hairspray is a much loved musical and a real crowd pleaser,” said Anisa Cameron, the society’s artistic director, who is also serving as the show’s director. “But what I like about it is that it promotes unity and diversity, and that people should be accepted, no matter what their shape, size or creed is. Hairspray not only tackles those issues head on, it also promotes a lot of positive values, and you can’t have too much of that.”

Ms. Cameron also promised that the Cote St. Luc Dramatic Society’s production of Hairspray will stay faithful to the campy, colourful and almost cartoonish spirit of both the original Broadway production and the John Waters film. And to make things even more interesting, most of the stellar cast from “Catch Me If You Can” will be back to perform in “Hairspray”, including Brandon Schwartz, Megan Magisano and Mike Melino, who was remembered for his scene-stealing performance as the overzealous Agent Hannerty, by following in the cross-dressing footsteps of John Travolta and the late Divine by taking up the challenging role of Edna Turnblad.

“And newcomer Amber Jones is just perfect as Tracy Turnblad,” added Ms. Cameron. “She is so bubbly, that you immediately are on her side, and you want her to succeed as a dancer on the Corny Collins Show.”

Rounding out the Turnblad family is Mitchell Brownstein, the show’s producer, who is taking to the stage as Wilbur Turnblad, the family patriarch. Involved with the dramatic society since its inception – both on and off the stage – Brownstein finds Wilbur a more larger-than-life character, the type of person that everyone aspires to be like.

“Wilbur is the type of person who is not only a loving husband and father, but is someone who goes after his dreams and loves what he does,” he said. “Wilbur is a model type of person who is a positive, outgoing person with the will to succeed.”

And joining the 32-member cast to add an even more musical aspect to Hairspray will be members of the Montreal Jubilation Gospel Choir and the Jireh Choir.

The dramatic society will also use the intimate space that is the Harold Greenspon Auditorium to its advantage by having the performers somewhat involve the members of the audience in several scenes of the production, and not restrict themselves to just the confines of the venue’s stage.

“The audience is gong to get the feeling that they are going to be surrounded by the show,” said Ms. Cameron. “That fourth wall is certainly going to be dropped. At times, they are going to get the feeling that they are actually living in the Turnblad home, or they are members of the studio audience for the Corny Collins Show.”

With the meteoric success of the Cote St. Luc Dramatic Society over the last three years has two trickle down effects: the ability for a local theatre troupe to attract people from within the community, as well as the rest of the island of Montreal, to watch quality productions, and to give talented performers –whether they be professional or amateur – the opportunity to participate onstage in these productions.

“With the type of shows that we present, we want to attract more people across Montreal to see our shows; shows that will be of interest and will appeal to everyone,” said Brownstein, who is also a lawyer and Cote St. Luc city councillor. “And in turn, we want to keep local acting talent to stay in Montreal by offering them many opportunities to participate in quality productions. If you provide them the opportunity to perform, they will perform. And when they participate in a show that is great, it makes them happy that they are doing it, because they are doing something that they enjoy, whether they see acting as something they do in their spare time after work or as their profession.”

Tickets for the Cote St. Luc Dramatic Society’s production of “Hairspray: The Musical” range in price from $25 to $32 (taxes included) and are now on sale at the CSL Aquatic and Community Centre, located at 5794 Parkhaven Avenue, or the Cote St. Luc Public Library, located at 5851 Cavendish Boulevard. For more information, go to www.csldramaticsociety.com, or call (514) 485-6800, ext. 2024.

"The Envelope" pokes the Canadian film industry in the eye with a sharp stick

I remember a period of time between 1979 and 1986 when a series of feature films were constantly being shot on location around Montreal that featured many well-known Hollywood actors (Elliott Gould, Michael Douglas, Morgan Freeman and Christopher Reeve come to mind) who made their way to what was dubbed “Hollywood North”. 

Some of these pictures made their way to your local cinema (i.e. “Once Upon A Time in America”, “Snake Eyes”), but many of them ended up with limited releases, straight-to-video, or ended up being shelved and relegated to gathering dust (i.e. “Running”, “City on Fire”, “Crunch”). For most part, these made in Montreal features were committed to celluloid more for the generous government tax credit money than for artistic merit.

In Vittorio Rossi’s play “The Envelope”, which is playing at the Centaur until April 19, he takes a rather satirically pointed look at the Canadian film industry today that insiders will squirm at, but outsiders will luridly appreciate.

The play takes place mainly within (and outside) an Old Montreal Italian restaurant name Da Franco. Michael Moretti, a veteran award-winning playwright is a week away from debuting his latest play “Romeo’s Rise”, which was originally a movie screenplay that was rejected. His play sparks interest to be optioned as a movie; first by a rather oily Canadian film producer Jake Henry Smith, who screwed him over five years earlier, and a small American producer who has connections with HBO. Michael’s dilemma, as “Romeo’s Rise” opens to critical acclaim and a possible extension of its run, is to decide whether to sign with Smith, get a chunk of the $6 million budget, but compromise his and the script’s integrity, or go for the American producer for less money, but for the golden opportunity of being picked up by HBO and expand into a possible TV series on the cable network?

Somehow, everything about “The Envelope” works so well that makes it a 160-minute entertaining, yet wildly informative expose on what’s really wrong with the Canadian film industry today. The ensemble cast of Ron Lea, David Gow, Leni Parker, Melanie Sirois, Shawn Campbell, Guido Cocomello and Tony Calabretta give such strong performances across the board and complement each other so well (especially the scene-stealing performances by Campbell and Calabretta), and defines what the ideal ensemble cast should be like. The script by Rossi is sharply written, with plenty of zingers about the Canadian film  industry that audiences will find both informative and luridly revealing (and don’t miss Lea’s terrific monologue about how Sidney Lumet made a great film out of a great play that was “12 Angry Men” back in 1957 … it’s like a quick mini lesson on how to be a filmmaker).

“The Envelope” is a searing indictment within the confines of a stage play about how convoluting, frustrating, bureaucracy-drowning and an exercise in futility making a feature film in Canada can be, in which it’s a constant battle of progress over the status quo, or a sharp lesson on how to make a mediocre movie vs. how to make a great movie. Once and for all, “The Envelope” should prove without a doubt that Vittorio Rossi is becoming English Montreal’s main man of letters, and that his playwright’s pen is a golden one.