K-W & Beyond

Miss Julie: Freedom Summer,
a new version by Stephen Sachs of the play by August Strindberg - The Canadian Stage Company, Toronto

The original Strindberg play Miss Julie was provocative in 1888, banned from stage in Sweden until 1939, is a story of a young lady entering a tumultuous affair with a house servant. The present day Miss Julie: Freedom Summer revamped by Stephen Sachs is set in 1964 Mississippi against the backdrop of the civil rights movement, current racial prejudices, steamy summer night and the outcome of this explosive mixture in the traditional southern household.

The production of this play is exquisite, starting with the stage design and setting of the home kitchen, so careful in all details, the costumes and the actors: Julie played by Caroline Cave, with her mannerisms and southern accent of the Mississippi belle, intoxicated in this hot summer night, searching for freedom and at the same time trapped in the social system, John played by Kevin Hanchard, a black servant well-trained in his job as a chauffeur and quite comfortable in the company of Christine, the cook, played by Raven Dauda. And then John experiences the temptations of the white miss and dares to stray from his designated place, gets into a wild sexual encounter presented right then and there on the kitchen table – before the audience. To make it a really good piece of theatre takes a great director, Stephen Sachs, and great actors. Bravo to them all.

The audience sat frozen and transferred in time for all 90 minutes of the play. It was indeed 1964, the Mississippi and freedom summer we remember. Somehow, alongside with the action of Miss Julie, the play, some other thoughts were running through the minds of the audience, large groups of them talking in the hall after the play, reluctant to leave. It was all true just 45 years ago, and right now there is a black President in the White House, and he was born of mixed parentage about that time. How fast times changed. How much we all changed.

Miss Julie: Freedom Summer continues at The Can Stage (St. Lawrence Centre) in Toronto till March 9. Visit www.canstage.com or call 416-367-8243.

Rosencrantz and Guildenstern are Dead
by Tom Stoppard, Touchmark Theatre at River Run Centre in Guelph

After a year break Douglas Beattie, Director of Touchmark Theatre, has staged a play which in 1967 shook and won the classic traditional stages in England and then the United States. Nothing like that had been done before, the daring innovative approach to the revered Shakespeare’s play, the mix of authentic Hamlet with the modern day jargon and surrealistic atmosphere. Edinborough, London and then New York audiences enthusiastically embraced this new theatre.

The play takes place at the court in Elsinore circa 1600 at the time of Shakespeare’s Hamlet. Two court members, Rosencrantz and Guildenstern while waiting for some instructions or directions are passing time with games and verbal exchanges. Hamlet, Ophelia, Polonius, Gertrude and others are coming and going through the stage. The atmosphere is becoming more and more unreal, the debates more linguistic and philosophical. After centuries of theatre with a standard approach – opening, action, conclusion, curtain – this must have been a revolution.

The actors engaged by Douglas Beattie come with a long list of credentials from Stratford, Toronto theatres or other prominent stages, Damien Atkins as Guildenstern, Shane Carty as Rosencrantz, Brian Tree as The Player all excellent, along with many others. Douglas Beattie added his own careful and creative dimension. It is an almost 3 hours long play, and must be kept together and in focus all the way. The sparse stage décor was gracious and appropriate, costume selections wonderful.

We do hope Touchmark Theatre will be staging more plays and its talented Director coming back with new ideas. Looking forward to seeing Douglas Beattie again.

Travesties
by Tom Stoppard, at Soulpepper Theatre in Toronto

Distillery District, the area east of Sherburne, is being revitalized: renovated buildings, restaurants and cafes, new condominiums, new life is in the air. Soulpepper Theatre is located in the heart of it among small galleries, shops and bistros. Currently Travesties, another Tom Stoppard play, is running till Marc h 21^st and attracting theatre lovers.

It is another "theatre of the absurd" play, full of verbal games, time repeats, nonsensical situations, and intellectual parables. We are transferred to Zurich in 1917 right after the First World War and Russian Revolution and witness the interactions between Lenin, James Joyce and Tristan Tzara, their philosophical and artistic debates and bizarre exchanges. Classic Tom Stoppard – it helps to be prepared for it, it is certainly not the regular theatre.

But let me tell you about the production: it is exceptional, it is superb, and it is something worth experiencing for its own sake. Joseph Zeigler, director, had a clear concept that he wished to achieve and achieved even more. What a play! Set and costumes by Christina Poddubik are striking and worth attention by themselves, Robert McCollum choreography – surprising and refreshing. What an idea, what a delivery! The cast: Diego Matamoros as Carr, David Storch as James Joyce, Oliver Dennis, Maggie Huculak, Kristin Pellerin and Sarah Wilson and especially Kevin Bundy as a waiter were great. What acting, what style! Their own talents combined with the directing of Zeigler and drive of Albert Schultz, Artistic Director, give us a chance to see this unique play and enjoy a truly professional top quality theatre. And an exciting district to visit.

There are more plays to come in 2009 – among them coming in April Glengarry Glen Ross, Loot by Joe Orton in June, Who’s Afraid of Virginia Woolf? at the end of August, a new adaptation of Antigone in September, and some more. The web-site is www.Soulpepper.ca and the box office number 416-866-8666.