Two Gentlemen of Verona – Theatre Thursday


(“Two Gentlemen of Verona” Poster Image, as always, lovingly stolen from Theatre Calgary. Their site is always adding more incredible, informative material about their shows, please take the time to explore it.)

First off: I probably should have written about this show a month again. Actually, if I were really good at my job, I would have seen the show early in it’s run and written an actual review to actually encourage my readers to go see it. But long-time readers know that’s not what I’m here for. I’m here for ruminating on things for far too long and then vomiting my thoughts about important theatre onto this blog. And today? The #importanttheatre that I’m talking about is #ShakesBow‘s production of Two Gentlemen of Verona.

What’s #ShakesBow?

Shakespeare by the Bow is our forever evolving summer outdoor Shakespeare theatre in Calgary, Alberta. It’s varied in format over the years – sometimes two shows running in currently, sometimes just one… sometimes allowing experienced actors to work with those of all levels, sometimes emerging artists being allowed to tackle amazing roles. They have partnered with different theatre organizations in town and recently rebranded from “Shakespeare in the Park” with their most recent partnership with Theatre Calgary. ShakesBow has even experienced variety in its performance spaces when flooding in 2005 and 2013 damaged their usual space at Prince’s Island Park. (Note: this is an incredibly vague and non-detailed history. Don’t come at me.)

However, one thing that has remained consistent over the years is that ShakesBow offers donation-based, accessible classical theatre. It is Shakespeare to help people who maybe only ever read Shakespeare in high school – if that – “get it”. It is equal parts fun and touching. Above all else, it is completely understandable. (Note: Again, don’t at me. Anyone can understand Shakespeare when it is done well and ShakesBow does it.)

So, what makes Two Gentlemen important?

Aha! Great question! After all, why am I writing about this show over a month after it closed?

I don’t love Two Gents. Part of it may be that I saw an insane musical adaptation of it almost a decade ago. (Seriously. It was over the top. I thought I had an old livejournal review of it somewhere, but I couldn’t find it and also I don’t want anyone reading my old livejournal from a decade ago.)

A bigger part of it is that I don’t love watching Julia, who is spunky and fun and takes action, chasing around Proteus who immediately falls in love with his best friend’s girl. I don’t love that Proteus and Valentine are big ol’ dummies and Valentine volunteers to “give” his girl to Proteus. I know, I know, it’s a different time and potentially Shakespeare’s first play but I’m still allowed to not love it.

Unless…?

Unless. (tm. McElroy brothers)

ShakesBow does the play. And doesn’t actually change the dialogue, but completely reclaimed the play for the women. With a look, blocking and a very specific song choice, our heroines realize the boys are bozos and truly become heroines.

You guys. It was so good.

I love Shakespeare.

Bonding in Musicals – Theatre Thursday

wicked

Here’s a fun picture of the time I did Popular for a talent show thing in high school. In my defense, it was 2003-2004 and incredibly timely and not overdone at that point. Musicals!

I feel like sometimes when I write about theatre topics (especially some of the more serious ones like fear in theatre or auditioning for shows), the most important thing about why we do theatre doesn’t come across. Creating something is fun. It’s scary and exhausting and hard work, but it’s also fun. I find theatre especially remarkable because it is a collaborative creative experience, when so much creation is very solitary. Recently, someone commented to me they enjoyed doing musicals more than straight plays because they found that the cast bonded better during musicals.

Well, huh. That stopped me in my tracks. It’s been a long time since I’ve done a musical – I love them, but this girl does not sing, like to the point that when I have auditions that require singing, I sing Sing from A Chorus Line… wait, what was I talking about? Oh yeah, it’s been a long time since I did a musical but, in my experience, that actually is a pretty true statement. But why?

Is it because the rehearsal period for a musical is typically longer? (There’s so much more to learn – not just lines, blocking and motivations but choreography and songs as well!?)

Is it because choreography so often leads to touching each other? (Okay, that sounds creepy… I just mean that you need to get comfortable with each other pretty quickly because trust is important and… okay, you get it. I think.)

You know, I actually do think it has to do with the choreography and the songs. Not the touching or the time it takes, but the process of learning something together. Theatre is so collaborative but when you really think about it – only the actor learning the lines actually learns those lines. You can run your lines with your co-stars, they can help you, but at the end of the day it’s all on you. The way that we learn the things that are specific to musicals – song and dance? Those things happen together and they can’t be performed without each other.

But damn, what is out there for those of us who sing Buffy the Vampire Slayer songs because Sarah Michelle Gellar isn’t a singer either and they wrote the songs for her?

I’ve figured it out. Collective creation. Write a play together. Completely create something from the ground up. This is what my theatre company does and it’s amazing.

We may have a little project in store for the 2018-2019 theatre season and I’ll track the journey here. Watch this space.

BOOM – Theatre Calgary

boom-final-rgb
(Note: This image comes directly from the Theatre Calgary website, as a girl can only take so many pictures in the semi-darkness of her wine and program in her theatre box before it gets weird and her readers get tired of looking at it.)

Much like Theatre Calgary’s first offering of the season, BOOM crazy surprised me with how much I enjoyed it. I did a little reading on the TC website, as well as a little exploration of Rick Miller’s Official Boom website prior to seeing the show and I just felt like I couldn’t get a grasp on the show. The description made me think of a theme park variety show and, to my mind, did not do it justice.

Of course, I was wrong. Why do I even try to read about shows beforehand? The reason I love theatre is because it hits you in a visceral way, touching something inside you, that is hard to put into words so why do I expect copy written for a website to communicate that?

BOOM is a tapestry, not a variety show. It is a mixture of the sweeping world history between 1945 to 1969 and the personal stories of important baby boomers in the playwright/actor’s life. It is a collection of music, stories, imitations, news clips, advertisements, cultural touchstones. I personally don’t truly have a baby boomer in my life – my mom was born in 1961 so she didn’t remember any of the events referenced in the show, but my grandparents were already well grownup and established by 1945 – but I do love history and I was able to give myself over to the three characters that were growing up over the twenty years the show covers.

I don’t know that I can truly put into words what seeing BOOM is like any better than the Theatre Calgary website can – the show is running until October 29th, though, and tickets are available on at Theatre Calgary. I highly recommend seeing this one for yourself, I can guarantee it is like no other show you’ll see at Theatre Calgary this year. When picking your seats, I would pick ones in the centre section of the theatre (even in balconies) rather than any of the side boxes – though I loved being away from the riff-raff, I felt like I missed the full experience of some of BOOM’s projections from my angle.

Disclaimer: I know it sounds like I love every show I see. This is not the case… I just prefer to write about the shows that I love so that I can get other people to see them which thus gives me someone to talk to about them. I’m really terrifically selfish in that way.

I’m In a Play – Secondary Cause of Death – Theatre Thursday

secondary cause
(Caption: This is the face of a girl who slept for four hours during the daytime on Tuesday because she was sent home from work, and went on to kill it at the theatre that night. This is the magic that theatre does.)

I’m in a play!

Let me be real here – this is not a review for the play that I am in. Mostly because I think the show is pretty great but it is nigh impossible to be objective about a play that you are in. This also isn’t really an advertisement or promotion for the show that I’m in – I’ve been doing a ton of that on social media, even including a “tech week selfie” game with Claire since we always seem to manage to be in tech week at the same time. So, what is this? I guess it’s really more of an ode.

I can’t remember the last time I was so thrilled to be in a play – maybe when I did Scorpio Theatre’s world premiere of Blood of the Red Queen, had a role rewritten for me and knew that I was a part of something that was going to just take off? I don’t know… I’m always pleased to be in a play and I always love it (otherwise I wouldn’t do it), but this time I’m just thrilled.

Part of it may be that I was asked to step into this show to fill a role once they lost an actress after rehearsals began – I hadn’t met the director before so I did do a bit of an audition, though nothing like the ones I’ve written about before – and it’s always nice to be needed/wanted.

Another part of it may be that I’m really getting to stretch myself as an actress. I am playing the type of role that I often get cast in (lovely and graceful) but the process hasn’t been “easy” by any means, and I appreciate that. I swing towards bubbly when I act and I’m playing a character who is on the older end of my age range so there is absolutely no room for bubbly. The show also takes place in England in 1939 (and is very British murder mystery in feel) so accents are imperative. I went to U of C, I haven’t learned accents! But I can do one now…

I think the biggest part of it, though, is that I just feel like such a part of things doing this show. I am a shy person by nature (which people always seem to mistake for my being a bit of a bitch and not just rampantly socially awkward) but everyone in this show has just made such an effort to make me not feel like the “new girl” since Day One. There is a camaraderie in the dressing room that I haven’t actually felt since university (other than during Full Circle Theatre shows, but that’s really just me gathering my friends together and going “let’s make a play!”) and I love it, even when I just sit quietly and listen to everyone else. I absolutely trust every person on that stage to pick me up and save me if I forget a line. (Oh gosh, that better not happen… knock on wood!)

I’m in a play. And even though I am going on vacation the day after it closes, I’m going to miss it when it’s done.

If you would like to see the play that has inspired such gushing from me (and hear my sparkling dulcet tones), Simply Theatre’s “Secondary Cause of Death” runs until October 1 and tickets can be purchased by calling 587-575-656 or by visiting http://www.simplytheatre.ca Come see it. It’s worth it. (This is not a promotion, I’m just happy.)

‘da Kink In My Hair – Theatre Calgary

da Kink In My Hair
Caption: Yaaaasss, Gaga, we got a box this year! We are tired of bozos and just want to enjoy good theatre and that is what the box is for, y’all!

Fall is officially here and that means theatre season is back on in Calgary. Granted, during the summer there is a smattering of theatre offering in Calgary – Shakespeare by the Bow, the Common Ground festival and the Calgary Fringe Festival being some of the most notable – but I tend to take the summer off to regroup and nourish my artistic spirit… by reading a ton of books, laying in the sun and taking fitness classes, I guess? I don’t know… and I actually started rehearsing my current show during August this year so I’m really just rambling now.

tl;dr – Theatre is back and I’m back.

Speaking of the Fringe Festival, the first show I’m writing about this year is one of those stunning Fringe Festival success stories that every theatre artist dreams of happening for them. Fifteen years ago Trey Anthony created ‘da Kink In My Hair for the Toronto Fringe Festival because she was determined to create the type of roles she deserved to play rather than accepting the type of roles that were being offered to her – and it became a runaway hit with productions in the Princess of Wales Theatre in Toronto, across the US and London, and even a tv series. The Theatre Calgary production runs until October 1 and then transfers to the National Arts Centre in Ottawa.

In the interest of complete honesty, I was surprised by how much I related to this show. When I was a teenager, I was always trying to relate to shows that actually had nothing to do with my lovely Newmarket existence and since I was a teenager in the GTA in 2001, I sort of figured that ‘da Kink In My Hair fit into that box without ever having actually seen it. In the grand tradition of “Erin walking into the theatre with preconceived notions”, I was wrong and I’m very pleased. Bits and pieces of every one of the women resonated with me and Virgilia Griffith as Stacey-Anne absolutely stole the show, leaving me with a lump in my throat as she embodied such a real and joyous little girl. For the skeptics out there, the show does get a little bit “Fringe show”-y as it hits every single “big issue” but the performances are full of such heart and are so honest that I was able to fully put aside my inner skeptic and give in to the story.

It’s terribly on brand for me to love this show – after all, my theatre company was also developed to give a voice to all the incredible young female artists I know – but ‘da Kink was transformative and is important. To horribly paraphrase Craig Finn talking about the experience of performing music… There is so much joy in what they do up there.

‘da Kink In My Hair is a musical in its purest sense – as I remember so many of my best teachers saying, a show should happen in a musical when the feelings get too strong for mere words and you have to sing them instead. That is exactly where the songs in ‘da Kink spring from and though I didn’t walk away singing any of the tunes, I was completely carried away by each of them. (And, confession: I do sometimes catch myself humming “What am I gonna do with this hair? My hair my hair my hair…” as I try to wrangle my hair into a cute 1939 style for my show.) All the women have beautiful voices but Krystle Chance as Sharmaine in particular is just absolutely stunning. Her second act solo is a true standout.

‘da Kink In My Hair is a strong season opener and an interesting choice for a transitional season (Dennis Garnham has stepped down as TC Artistic Director and Shari Wattling has stepped in as Interim Artistic Director). It runs until October 1, 2016 and you can get tickets hereafter you come to see my current show, which also closes on Oct 1 and I will be writing about very very soon.