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.

Christmas, culture, history and hockey in the Music City

NASHVILLE, TENNESSEE – There are plenty of destinations across North America where you could spend a terrific Christmas-style vacation, whether it be traditional or contemporary. But how about spending a country Christmas in the Music City?

During a recent press tour that I took of Nashville, I found out that you don’t have to go to New York City  (with its famous tree at Rockefeller Plaza and the annual Radio City Music Hall Christmas Spectacular) to have a truly Christmas vacation. And in Nashville, the nucleus of this Country Christmas is at the Gaylord Opryland Resort just outside of downtown Nashville (www.gaylordopryland.com).

First of all, to say that the Gaylord Opryland is massive is an understatement. This hotel is like a city-within-a-city, complete with shops, fine dining and fast food restaurants, clubs and recreation spots. And every inch of the place was decorated in Christmas splendour, with some of the largest Christmas trees that I have ever seen under one roof, including the “Parade of Trees”, in which a number of trees are personally decorated by a selection of top country music stars (like Dolly Parton and Vince Gill) that are filled with gifts selected by these stars and are all up for auction t the highest bidder, in which the proceeds go to their favorite charity.

One of the highlights of the Gaylord Opryland’s Country Christmas is “Ice!” (pictured right), a dazzling exhibition at the resort’s Events Center, in which over two million pounds of ice are magically transformed into crafted ice sculptures; this year, these colorful ice sculptures retell in great detail Clement Clarke Moore’s epic holiday poem “’Twas the Night Before Christmas”. As well, “Ice!” features live ice carving demonstrations (pictured below), a Nativity scene done in crystal clear ice, 20-foot tall ice slides, a marvelous gift boutique and for adults, a chance to enjoy a frosty cocktail at the On the Blocks ice bar. And here’s a helpful hint: use the insulated parkas that are offered to visitors at the entrance of the exhibition, because with all that ice that needs to be preserved from now until January 3, it gets quite chilly inside.

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If you want to experience some culture in Nashville that doesn’t have to do with country music, here are two recommendations. The Nashville Symphony (www.nashvillesymphony.org), in their home base at the Schermerhorn concert hall in downtown Nashville (pictured below), offers a wide variety of classical and non-classical music concerts in their ongoing Classical, Pops and Legends of Music series. The night our press entourage attended the Schermerhorn, the orchestra paid a musical salute to great jazz and blues music of the 20s and 30s called “A Night at the Cotton Club”. Other Nashville Symphony shows that took place or are taking place throughout the remainder of the year included a concert with violinist Itzhak Perlman, a screening of “Home Alone” with live musical accompaniment by the orchestra, a concert with the symphony and Tony Bennett, a special event Christmas concert with Celtic Thunder, and a special performance of Handel’s Messiah with the symphony’s chorus.

The interior of the Schermerhorn concert hall

The Frist Center for the Visual Arts (www.fristcenter.org), which was originally built as a post office 80 years ago, is currently holding an exhibition that takes a look at a rare aspect of the art from the Italian Renaissance period. “Sanctity Pictured”, which runs until January 25, is dedicated to the artistic contributions of the Dominican and Franciscan Orders of monks in Renaissance Italy. The collection of paintings, hand-illustrated manuscripts, religious objects and sculptures tells a fascinating story of how these monks who devoted their lives to religion had a knack for creating such splendid works of art (many of which have been loaned to the museum directly from the Vatican’s library and museum in Rome). Also, take a few minutes to absorb the beautiful art deco style architecture of the museum’s lobby (which you can get the full story behind the building’s construction with a free architecture tour that takes place on the first Saturday of every month).

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Civil War buffs will certainly get their fill when visiting the Nashville area. In particular, the town of Franklin, where one of the major battles of the western theatre of the Civil War took place that sparked the beginning of the end for the Confederacy and its army.

This year marked the 150^th anniversary of the pivotal Battle of Franklin, and to commemorate this historical milestone, a full-fledged re-enactment took place at the site where the battle took place, which was the Carnton Plantation complex. Civil War re-enactors converged on Franklin the weekend I was there to step back in time to that fateful November day in 1864. And whether they were soldiers or civilians, wore authentic period costumes and uniforms (both North and South) and authentically lived the way of life of the 1860s, right down to the way they cooked their food and the magazines they read (I saw copies of “Harper’s Weekly” lying around the living quarters during my visit). And the battle re-enactment was just as authentic, from the battle maneuvers to the volleys of musket fire and blasts from the cannons that were positioned on the battlefield, which gave the huge crowd gathered for the battle a rather harrowing representation of what a typical Civil War battle was like in its ferocity. It even attracted a crew from the CBS News Sunday Morning program, which was doing an item about the movement to preserve Civil War battlefields across the U.S. (which aired on the November 30 broadcast).

The Carnton Pkantation main house

Also highly recommended is the tour of the Carnton Plantation (pictured right), in which owners John and Carrie McGavock literally witnessed the Battle of Franklin from the comfort of their home. The guided tour of the main house, which was built in 1826, is fascinating and is preserved to the way it looked in November of 1864, when the Confederate Army commandeered the house to use it as a field hospital. One of the more haunting aspects of the tour is walking through one of the bedrooms of the house that was used as an operating room, in which the bloodstains of the wounded Confederate soldiers are still embedded within the floorboards.

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If you are a hockey fan, then a visit to Nashville is not complete unless you catch a Nashville Predators home game at the Bridgestone Arena (aka “Smashville”), which is located just minutes away from the Ryman Auditorium, the Country Music Hall of Fame and Museum, and the honky-tonk clubs of Broadway (www.nashvillepredators.com).

Action between the Nashville Predators and the Winnipeg Jets at the Bridgestone Arena

The Predators (which has former Habs player Mike Ribeiro and Carrie Underwood’s husband Mike Fisher on the team) have quite a large, loyal local fan base (in which they refer to going to a Predators game as “hockey-tonking”), and they show their devotion to the “Preds” in quite an energetic, spirited way. One way is when the Predators are on a power play, the fans in the stands have to turn the index and middle fingers of one hand into “fang fingers” (representing the fangs of the team’s sabre tooth tiger mascot, whose name is “Gnash”). And of course, country music pervades the atmosphere of the Bridgestone Arena; every time the Predators score a goal, the jumbotron plays a music video that features country music star Tim McGraw (wearing a Predators jersey) singing a shortened version of his hit song “I Like It, I Love It”, in which the fans sing along quite loudly. By the way, for those Montreal Canadiens fans who want to make the trip to Nashville, the Predators will be hosting the Habs in their only game at the Bridgestone Arena on March 24.

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To find out what else Nashville can offer tourists, visit www.visitmusiccity.com or call 1-800-657-6910.

A Night at the Grand Ole Opry

Exterior of the Ryman Auditorium in Nashville

NASHVILLE, TENNESSEE – It’s known as “the show that made country music famous,” and has the distinction of being the longest-running radio program in North America … 89 years and counting.

If you’re a fan of country music or not, there is no denying it … a visit to Nashville is not complete unless you see a live performance of the Grand Ole Opry, especially when it takes place in its most famous home, the Ryman Auditorium. And when I took part in a recent press tour of the Music City, I had the chance to do both.

Actually, the Ryman Auditorium wasn’t the first home of the Opry; in fact, it became the sixth home of the show in 1943 when it’s increasing popularity with listeners compelled its original sponsor, the National Life and Accidental Insurance Company, to find a larger venue to handle the growing fan base to see the Grand Ole Opry during its live broadcasts that were heard on 650 WSM Radio (which is still its official broadcaster), and for a time, on NBC Radio across the U.S. Although the Opry moved to its current home at Opryland – located just outside of downtown Nashville  -- 40 years ago, the Ryman’s historical attachment to the Grand Ole Opry still exists in the hearts of Nashville citizens and country music fans everywhere. In fact, the Ryman is now used as the official winter home of the Opry between November and January and in 2001, was deemed as a National Historic Landmark.

 After taking a special backstage VIP tour of the Ryman, I was amazed at this building’s impressive 122-year history. It was built in 1892 by Nashville-based riverboat captain and businessman Thomas Ryman, and it was used expressly as a church for travelling evangelical preacher Sam Jones (its original name was the Union Gospel Tabernacle). When Ryman died in 1904, Jones presided at his funeral and asked the packed crowd at the church if the building should be renamed in memory of Ryman; the congregants unanimously approved and it permanently became known as the Ryman Auditorium afterwards.

Portrait of Captain Thomas Ryman

From that day, the Ryman became the premier entertainment venue in all of Nashville, and has attracted some of the most illustrious names in entertainment of the past century to its stage, from Enrico Caruso, to Charlie Chaplin, to Harry Houdini, to Katherine Hepburn, to Bob Hope, to Louis Armstrong, to Bruce Springsteen. The Ryman’s long and illustrious history can be viewed in a massive illustrated timeline that graces the walls outside the Confederate Gallery level of the building, which is guarded by a rather large portrait of Captain Ryman (pictured above).

 

And at the rear of both levels of the building are exhibits of memorabilia that offer a living history of the Ryman’s connection to the Grand Ole Opry, with artifacts from such legendary Opry stars as Minnie Pearl, Dolly Parton and Johnny Cash (pictured left). I also recommend for any visitor that before taking the tour, to view the highly informative eight-minute introductory video about the history of the Ryman that is played on a continuous loop throughout the day, and is narrated by country music star Trisha Yearwood. And if the mood hits you to become a future Grand Ole Opry star, you can take a souvenir picture of yourself onstage at the Ryman for a nominal charge, or make your own CD recording from a select list of classic country songs that is done in an actual recording studio (which doubles as WSM’s master control booth during Opry broadcasts), in which you can take home both as a souvenir of your visit to the Ryman (I did the former, pictured below).

During the backstage tour, I got the rare chance to see the Ryman from the point-of-view of a Grand Ole Opry performer.  I got to stand in the wings of the Ryman stage and see the pews where the audience sits from where the performers make their entrances. And the dressing rooms double as individual shrines to the memory of the following Opry legends: Hank Williams, Johnny and June Cash, Minnie Pearl, Patsy Cline and Roy Acuff, and when the surviving family members from either of these legends are present at the Ryman for a show, they are given exclusive access to the dressing room in question for that specific evening. Also, one interesting note I found out from our guide is that in the Patsy Cline dressing room, there is a painting of the legendary singer – who died in a tragic plane crash n 1963 -- that was done on a cupboard door that was taken from the kitchen of Cline’s home, which was donated by her widowed husband.

Vince Gill

Two days after I took the tour of the Ryman Auditorium, I was filled with plenty of its wonderful history and its longtime country music tradition, and was ready to take in a live performance of the Grand Ole Opry in its best known home. The Opry does four shows every week; one show each on Tuesday and Friday nights, and two shows on Saturday night. I caught the second Saturday night show, in which the line-up was a mixture of longtime Opry members like Ricky Skaggs and Vince Gill (who was sporting a Nashville Predators jersey, which meant he probably caught the Nashville Predators-Winnipeg Jets game at the nearby Bridgestone Arena before the show -- pictured right -- in which the Preds beat the Jets 2-1), to up-and-coming country music stars; the latter category was best exemplified by 10-year-old Fiddlin’ Carson Peters (pictured below), who brought down the house with his extraordinary fiddling skills and his rocking rockabilly rendition of the classic “Blue Moon of Kentucky”.

Rising star Fiddlin' Carson Peters

A typical Grand Ole Opry show is divided into four blocks of 30 minutes each, in which each segment had three or four performers do two songs each, and every segment was punctuated by Opry announcer Ernie Stubbs, who extolled the virtue of each broadcast sponsor, which are Humana (a healthcare plan), the Dollar General chain of discount stores, and the Cracker Barrel Old Country Store chain. Stubbs is someone whom you can easily define as a consummate professional, as his soft baritone voice guided the listeners and Opry live audiences through the experience of a Grand Ole Opry show and what each sponsor had to offer … no matter how many times a member of the group Riders in the Sky tried to distract him during a commercial break (pictured below).

Grand Ole Opry announcer Ernie Stubbs (right) trying not to be distracted by a member of the group Riders in the Sky

And as the curtain went down after two hours of what I believed was one of the most enjoyable, entertaining live shows I have experienced, I couldn’t help but witness a piece of American entertainment history, and see the ghosts of past Opry stars echo through the pews and stage of the venerated Ryman Auditorium, as the late George D. Hay, the show’s original announcer, proclaimed in a December 1927 broadcast that “for the past hour we have been listening to music taken largely from Grand Opera, but from now on we will present the Grand Ole Opry.”

Finally, here’s an interesting Grand Ole Opry fact: the call letters of broadcaster 650 WSM, which was established in 1925 by the National Life and Accidental Insurance Company, stood for “We Shield Millions”.

For more information about the Ryman Auditorium and the Grand Ole Opry, go to their respective websites, www.ryman.com and www.opry.com. And to find out what else Nashville can offer tourists, visit www.visitmusiccity.com or call 1-800-657-6910.

Abdul Butt: Making trouble for laughs 22 Minutes a week

Abdul Butt

Since he was six years old, Montreal comedian Abdul Butt had a talent for getting himself into trouble, especially for saying things that he shouldn’t be saying in the first place at such an early age.

“I was always saying stupid things and thinking those were things you can say when you were six years old,” he said. “However, I always got in trouble at school for that and I thought how come I am not allowed to say that word? I was always singled out; I made people laugh and got in trouble for it.”

Somehow, Butt made getting into trouble for laughs a career, as his videos where he buttonholes not only ordinary Canadians, but also prominent Canadian politicians, have become a fixture on the CBC TV satirical news show “This Hour Has 22 Minutes” (or 22 Minutes for short) over the past two years. And now Butt is ready to cause more humorous trouble, as the 22^nd season of 22 Minutes begins this Tuesday night (October 7) at 8:30 p.m. on CBC, along with fellow cast members Mark Critch, Shaun Majumder, Susan Kent and Cathy Jones, who has been with the show since its debut in 1993.

Butt’s road to 22 Minutes began in Chateauguay, where he grew up watching Jerry Seinfeld, Jim Carrey, Martin Lawrence and Air Farce on TV, as well as VHS cassettes of old Red Skelton Show sketches from the 1950s and 60s with his older brothers, one of them, Billal, is now CHOM-FM’s afternoon drive show host.

When Butt attended Howard S. Billings High School, his propensity to cause trouble for laughs continued even further. “I wasn’t a bad kid, I just liked to joke around a lot. Somehow, as a result, I spent a lot of time in the hallways outside my classroom or in the principal’s office,” said Butt during an interview I conducted with him one late night in the lobby of the Hyatt Regency Hotel during this year’s Just For Laughs festival.

However, when he started attending Just For Laughs shows at the age of 17 (starting with the Ethnic Show), Butt realized he can be a stand up comic and make people laugh for a living without getting himself into trouble and earning him another trip to the principal’s office. By the time he was 21, Butt began doing open mic nights at the recently closed Comedyworks club. But when the club was reducing the number of open mic night shows, he realized that he could get a wider audience by simply making comedy videos and downloading them on YouTube. Most of those videos were mainly streeters that were similar to the type Rick Mercer did when he was a cast member on 22 Minutes. And somehow, Butt’s streeter videos caught the attention of soon-to-be 22 Minutes colleague Mark Critch, who sent samples of his videos to the producers of the show in Halifax.

“I met Critch at Just For Laughs two years ago when I sent him samples of my videos, and the following spring, they contacted me out of nowhere and asked me to come up with an idea to do a streeter video, and brought a camera crew to Montreal to help me shoot it,” he said.

Butt admits that his favorite videos are the ones when he ambushes Canadian politicians (which echoed the type of video segments that were done by former 22 Minutes cast member Mary Walsh in the guise of her alter ego Marge Delahunty). In that vein, Butt points out two segments that he is most proud of.

The first was when he confronted the mayor of the Quebec town of Herouxville, who garnered a great deal of controversy for his reasonable accommodation legislation regarding ethnic residents of his town. “It was a real pleasure to sit down with him and making him look really ridiculous,” he said. “I got to call him a racist on the CBC and presented him with a plaque that cited him as the #1 racist for his intolerance towards ethnic cultures. I never thought the segment would air, and when it aired, it was like the greatest feeling ever.”

The second moment was when Butt wanted to present a similar plaque to former Quebec Premier Pauline Marois in honour of her notorious Charter of Values. After fruitless attempts to arrange something with Marois’ representatives, he had no choice but to take the ambush route. “I was really nervous about it, because I was worried about the police taking the routine in a bad way, so I needed to say it in a right way, so it wouldn’t get me tackled to the ground by the police; however, I had another plan if I got arrested … I would say that the arresting officer was a cast member from ‘Just For Laughs Gags’!”, admitted Butt.

“In the end, Marois ran away from me,” he added. “I was upset about that because she didn’t stay to accept the award.” The incident ended up making headlines the following day in the pages of The National Post.

As Butt gets ready for more video comedy segments for 22 Minutes’ 22^nd season (with Montreal Mayor Denis Coderre and Prime Minister Stephen Harper high atop his ambush wish list), he enjoys his career as a troublemaker for laughs. “It’s not always glamourous standing outside in -40 degree weather hoping to run into a politician,” he said. “But I am very lucky to be doing this and I love it, because that’s what I do on my own anyways. And collecting a paycheque for it is quite surreal.”

To see a sampling of Abdul Butt’s comedy videos, check out his website at www.abdulbutt.com.