steelcitygirlreviews

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PREVIEW - All Riddled with Flaws and Just So Painfully Human… Discussing the Inspiration, Challenges and Themes within DLT’s Lobby Hero

With many of our community theatres wrapping up their 2023-2024 seasons, Dundas Little Theatre has seen great success with their equally impressive productions of Arsenic and Old Lace in the fall and Grand Horizons this past winter. They close their season with a morality (mixed with comedy) play by Kenneth Lonergan which delves into the themes of heroism, justice and how flawed and human we all are.

I had the pleasure of a virtual interview with actor Claire Shingleton-Smith (CSS) and director Gregory Flis (GF) who provided some keen insights and observations about the play itself, its themes and characters and how this show will provide audiences some real moments of discussion about our own community and the concept of heroism within it.

What influenced you to audition for Dundas Little Theatre's Lobby Hero? 

CSS: When Dundas Little Theatre first announced their shows for this season, I had someone suggest I read this script as they thought there was a role for which I might be interested in auditioning. I then went home and read a few scenes of Lobby Hero and was immediately both captured and intimidated by the script and the character. Dawn is such a powerful, complex, and nuanced role and my fear of not doing her justice crept in and convinced me not to audition at first. It wasn't until Christine, our producer, approached me at a theatre event only a few days before the audition date and suggested that I come out, that I got the courage to do so. I knew this was a story worth telling and hoped I could bring to the table what Gregory was looking for in Dawn. 

How do the themes of Lobby Hero impact you as an actor and how have the cast navigated the play as both a morality piece and a comedy? 

CSS: The themes of Lobby Hero are certainly heavy but they sort of hit you slowly as an audience member. The script is really well-written that way. Racial injustice, sexual coercion, power imbalances -- these issues are rooted in many peoples' everyday experiences so I don't think any of us felt unfamiliar with the themes in the play, but that doesn't make them any less uncomfortable. I am often drawn to plays with difficult themes; I find it really powerful to play women who have overcome difficulties or have stories rooted in some injustice, so as an actor I have some experience with separating my own emotions from my character's experience.

I think the difficulty with balancing the comedy and morality piece has been in toning down some of the impulses to milk the comedy moments into farcical or outlandish cheap laughs - there is a risk of going over the top, and making the characters too clownish or cartoonish that could take away from the reality of it. Really a lot of the comedy should come from the reality of the moment, the believability of the characters, the situational humour. I do think the comedy in the text saves the show from the heaviness of the themes becoming too overwhelming to digest so it has helped in portraying some of the more tense moments. The dialogue has to keep the audience engaged and interested and I think the lighter moments do that nicely.

What challenges, if any, have you faced while bringing your character to life and what have you taken from the experience? 

CSS: I really love playing the role of Dawn because the challenges brought forward have given me opportunities to learn and grow as an actor. I mean, for one, I've never had to do a New York accent before, so learning and practicing that has been a fun challenge.

On a more serious note, though, I really did struggle at first with playing a police officer. Dawn is new to her role as a cop and is someone who really believes that you can do good and make a difference by "catching the bad guys." I personally think that there's a lot wrong with current police structures in North America, and policing in general, and don't necessarily see it the way she does. I do think the play, as a whole, acknowledges the systemic issues with policing and the justice system, but Dawn, herself, really believes that she can make a difference. Part of the backstory I created for Dawn was that after the play ends, she ends up moving up in the ranks and making changes that improve the system, so doing these types of exercises has helped me connect with her. I had to come to an understanding that she is at a different point in her learning journey than I am.

Another challenging aspect is brought forth by the really dynamic writing of the characters by the playwright -- they are all riddled with flaws and are just so painfully human. While I connect with Dawn on so many aspects, a lot of the choices Dawn makes are things I would never in a million years do, and at times make me want to yell at her and say, "What are you doing!? Stop that!!" because you know she will regret it. So, I have really tried to rationalize and understand why she makes her choices and take the little tidbits you get in the script about her upbringing and family that give you a peek into how she developed as a person. 

What inspired you to direct Lobby Hero? 

GF: I was intrigued by the edginess and the black humour of Lobby Hero. I also wanted to work again with the people I had met doing two recent productions at Dundas Little Theatre. There is a strong group of committed individuals here who have made recent productions particularly successful. Michelle Chin, our set designer, and her crew are particularly creative, and they work hard to build a set simultaneous with the development of staging and character growth.

For those unfamiliar with this show, how will the production speak to audiences? 

GF: Many good stories, perhaps all, start with the question "What if...?" Lobby Hero demands its audience members answer that question for themselves. What if you were in the position of one of the characters? Sometimes audiences don't like that: it's discomfiting. But that's exciting for the presenters of the play.

There is also an inherent irony in the title: Can a lobby be the setting for heroism? Do we have the opportunity for heroism in a modern pedestrian setting? Is there even a true hero in the play? Is it heroic for us to just do the things we do the best we can? Ultimately, I think the play suggests that the nature of heroism lies in whether the decisions we make affect others in a humane manner.

What have you found rewarding about bringing this production to the stage? 

GF: Working with this relatively inexperienced group of actors has been particularly rewarding. They are all intelligent individuals, but each one is humble and hard-working. Community theatre is full of actors like that, in my experience: individuals who are excited to be cast but willing to learn and bring about a vision that may differ in essence from their own. The commitment of those who work behind the scenes makes working on a play equally gratifying. 

Interestingly, no two productions are alike: you work very closely with a set group of people, then never get that same magical combination of workers together again. It's exciting being a part of something like that.

A huge thank you to both Claire and Gregory for their thoughtful insights about this upcoming production! Don’t miss Lobby Hero coming to Dundas Little Theatre starting this Friday, April 19!

For tickets and more information, please visit: https://dundaslittletheatre.com/production/lobby-hero/

#hamiltonontheatre #dundaslittletheatre #lobbyheroplay

[steelcitygirlreviews]

REVIEW: Oh, the Places You'll Go - HTI's "Seussical" is a Whimsical Delight for All Ages

Seussical the musical is a contemporary re-imagining of Dr. Seuss' beloved characters and their stories of friendship, integrity and love. The musical comedy shapes the witty, wild and whimsical world of Dr. Seuss and opens the doors wide for imaginations of all ages. The show has a rocky history of being known for its misdirected design elements, stunt casting, lackluster script and being one of the biggest Broadway flops of all time. With that reputation, it was difficult to imagine it would have life once it closed on Broadway. However, once the rights were available for regional, community and school productions, Seussical found life once again and is now considered an endearing, albeit flawed, part of the musical theatre catalogue.

HTI embraces the production with a high energy cast and a real love and respect for the world of Dr. Seuss and the stories we have all grown up with. From the deviously charming Cat in the Hat to the honourable Horton and the lovelorn Gertrude McFuzz, the cast is full of recognizable characters who come together and take the audience on a delightful romp throughout the pastel-infused jungles and beyond to help a small nation of Whovians be heard by all.

Director Joshua Arcari has made some fantastic design and casting choices for this production. The set design appears simple and straightforward but then the backdrop (built accordion style) changes as the scenes change. This is the first time I have seen this kind of design element implemented on a community theatre stage and it is truly magical to see it (literally) unfold. The set and several of the props are beautifully illustrated in the Seussian style with bright pastels and the keen eyes of the enormous painting team have transformed the stage into a world of whimsy and warmth. Likewise, the costume design by the trio of Hamilton Muses was impressive. Their combined efforts of creating functional yet unique costumes for each character really stood out in this production and helped coax the audience's imaginations to believe these actors were elephants, birds and more. Clever and creative work by all involved.

Arcari has also worked hard to ensure this large cast is utilized effectively and alongside his choreography team Katlyn Alcock and Erika Bennett, have created some great moments with unexpected acrobatics and lifts throughout. The ensemble, as per usual with HTI, supports and allows the more seasoned performers their moments to shine while never fading into the background themselves. From monkeys to birds to the delightful Whovian people, they are all there for one another on and off stage and that is what helps this production to translate from script to stage as well as it does.

Musically, the songs are nothing groundbreaking but they do carry the messages within them effectively. The band is led with great enthusiasm by Musical Director Jennifer Ferreira who worked with the cast to ensure the pacing and sound levels were not overpowering anyone on stage which did not go unnoticed. The music itself is energetic and flows well from one song to the next. The music artistry and talent at HTI is never lacking and this band is no exception.

The standouts in this production are hard to narrow down. Newcomer Emma Grace Stead portrays the young protagonist JoJo with just enough sass and charm to win us over immediately. Her vocals are strong and she showcases some great range in songs It's Possible and Alone in the Universe. She even surprises us all with her belting during The People versus Horton the Elephant. Craig Winterburn is a dedicated and empathetic Horton who we root for the entire show. He has some wonderful moments in both versions of Alone in the Universe and his melancholic lullaby Solla Sollew. Chantal Furtado raises the roof with her ability to riff and belt as the Aretha Franklin-esque haughty Sour Kangaroo (and her young Kangaroo played by Penny McKay, being the youngest cast member on stage, definitely shows real potential for a future in musical theatre).

Further standouts include Melissa Kuipers as Gertrude McFuzz who fully commits to her character and stuns us with her vocal range and, despite her character's timid portrayal, is truly captivating every time she is on stage (big tail or no!) The General (a commanding performance by David Gibel) was a force to be reckoned with and was one of the most enjoyable antagonists I have seen staged. The flirty, slightly antagonistic and irresponsible Mayzie LaBird is played with sass and confidence by Allison Dickson. Finally, the mayoral couple of Paddy Skinner and Alissa Jambrovic are equally charming and are delightful personalities on stage.

But what of the Cat? The Cat in the Hat? Portrayed with absolute joy, wit, and powerhouse vocals is Jacob Rushton. Rushton leads with over 15 years of theatrical experience and it shows. He engages us from the start and has several moments of hilarious audience interaction throughout (another clever decision to use audience participation to engage and delight the younger audience members). This is the role that truly makes or breaks Seussical, and Rushton makes this mischievous character his own while staying true to the Cat's classic antics. He is the very definition of what it means to be a lead and this production is elevated by his abilities and skills. Bravo.

Seussical is not a deep musical. It's not meant to be. Despite its script being simple, it manages to carry the morals of its original source material and provides great reminders to audience members of all ages that you should always be true to yourself, be honourable and, as was reiterated numerous times throughout, that a person is a person, no matter how small. Families will especially enjoy this outing to HTI (watching this show among several young people gave this reviewer some wonderful, unprompted insight into how enjoyable they found it) but anyone who loves these classic stories and characters will find the charm and whimsy of this production in spades. Oh, the places you'll go in Hamilton, Ontario! Don't miss it.

For tickets and more information, please visit: https://hamiltontheatre.com/tickets/

Photography by: Joshua Arcari

#musicaltheatre #seussical #hamiltonontheatre #hamiltonontario theatre

[steelcitygirlreviews]

REVIEW: A Hilarious and Heart-Felt Look at Family Dynamics at Dundas Little Theatre's GRAND HORIZONS

It’s out with the old and in with the new at Dundas Little Theatre with the company’s selection for their January production. A modern day set (an extremely clever design by Graham Clements and crew) filled with boxes, knick-knacks and a homey, lived in feel greets an eager matinee audience as we discover the joys and pathos of every day life as partners, parents and, quite simply, human beings in Bess Wohl’s Tony-nominated comedy Grand Horizons.

Over a quiet dinner for two, performed with a cheeky choreographed ballet underscore, Bill (an energetic, engaging performance from Michael Hannigan) and Nancy (portrayed by the captivating Ruth Flynn) matter-of-factly decide to divorce after fifty years of marriage. While Nancy feels liberated and Bill seems unfazed, their adult sons Brian and Ben (equally strong performances from Jared Lenover and Bryan Fotheringham respectively) do not take the news well. As the “kids” descend on the Grand Horizons senior living community to mediate the situation, everything they thought they knew about their parents is hilariously demystified.

The entire cast excels in their roles and have been carefully directed by Ryan Trepanier and David Faulkner-Rundle. Both of these directors have deep insight into family dynamics because even at the play’s most emotionally uncomfortable parts, we care for this family and hopefully, find it within us as an audience to understand and relate to their anger, denial and eventually, acceptance. The play is staged well with brief moments of stagnation still feeling purposeful. There is a scene where you could legitimately cut the tension with the butter knife that Nancy holds. You feel a sense of emotional claustrophobia even in such a large physical space. It is very impressive directing from both. It must also be mentioned that the crew deserves high praise during intermission with a complete set changeover done within minutes. It is fascinating to watch should you choose to do so!

The cast itself is delightful to watch with very few hiccups. Each character is faced with less than ideal truths about themselves and their partners (or lack thereof). Michael Hannigan and Ruth Flynn embody this realistic couple going through the motions of a marriage that is less about being in love and more being beholden to one another. They are incredible together; both extremely earnest and captivating throughout.

Jared Lenover (Brian) and Bryan Fotheringham (Ben) command the stage as the sons. Their character’s personalities are vastly different which creates great tension between them. One is deeply focused on the anxieties that come with taking care of everyone while the other faces the insecurities of not being taken care of enough. They run a gauntlet of emotions throughout and their energy never wavers. It is truly impressive work as actors to embody unlikable characters that you still feel empathy for. No easy feat.

Newcomer Katie Ribout is exasperated perfection as Jess, the wife and expectant mother of Ben’s child. She is the mediator, the outsider looking in and this is a character we need to wake this family up regarding their actions. This is especially shown in the second act where her feisty frustration of wanting to be more than a pet name and soon-to-be mom shines brightest.

Rounding out the cast are Michael Adebo as Tommy; a seductive but no nonsense hookup with some great harsh truths about relationships and Bev Mattson as a quirky and free-spirited Carla who gained some of the loudest laughs of the afternoon.

Equal parts laugh out loud funny and deeply heart-felt, this production of Grand Horizons and its commentary on marriage, family, and accepting that change is often painful but necessary, is theatre at its most enjoyable and familiar. Don’t miss it.

For tickets and more information, please visit:

DUNDAS LITTLE THEATRE BOX OFFICE

Rehearsal photos by: Keith Sharp

#dundaslittletheatre #grandhorizonsplay #theatrereview

[steelcitygirlreviews]

PREVIEW INTERVIEW with GRAND HORIZONS director Ryan Trepanier

Coming soon to Dundas Little Theatre is a play about families, acceptance and growth. I had the pleasure of a virtual interview with director Ryan Trepanier and we discussed their vision for Grand Horizons as well as the company's winter clothing drive to assist our community.

What influenced you to direct for Dundas Little Theatre's Grand Horizons? 

I was happily surprised to find that when I read Grand Horizons for the first time, it was much more than a hilarious family comedy (which it still very much is). This play is a lot more personal to me than I would have ever expected. I can see my entire family in the characters Bess Wohl has given us. I thought it would be fun to direct this show from the perspective of the kids watching their parents look back on their lives together, whether that's regrets, desires, fears, etc. In a way, this play is a love letter to my parents, but hopefully to all parents of adult children. It's a really unique dynamic - how do us kids interact with and reason with our parents, who for so much of our lives, are the leaders, the ones who have all the knowledge and all the answers. This is really the question that permeates the show, as a real family dynamic plays out on stage.

For those unfamiliar with this show, how will the show speak to audiences? 

Ultimately, this is a play about very real people. Sure, the situation they're thrown into at the very beginning probably isn't a common problem most families face, but I challenge our audience not to find pieces of your own family in these characters. I can't help but empathize with this family, and I sincerely believe our audiences will too. Oh, and of course, the glue that holds this together is that while it's authentic and sincere, it's also incredibly funny. Because ultimately, we know families are funny and ridiculous in their own unique way. This play captures that, and I think audiences will appreciate how well constructed these characters are.

What challenges, if any, have you faced while bringing your vision to the stage and what have you taken from the experience? 

In a world with COVID, live theatre has definitely changed a lot. We've had to be flexible and patient in terms of rehearsing this play. But ultimately, having such an amazing group of people to work with - 7 incredible actors and an incredible team behind the scenes - it's made the whole process far less stressful than it probably should have been. The biggest takeaway from this production, though I think this just solidifies or confirms what I've always suspected, is that the hardest/most important part of any show is the casting and/or choosing your team to surround you. 

What have you found rewarding about bringing this production to the stage?

It's always incredibly satisfying to see a play take its shape in rehearsals. With this particular play, it's wonderful to watch the cast react to the heartfelt and meaningful moments on stage. I think, that much like myself, our cast and crew see the real people in this play. Everyone can mine their own meaning, and their own relation to these very real people portrayed on stage. And, every time a show goes up and it looks as good as you thought it would - that always feels like a little miracle, and I'm thankful for all of the people responsible for making that happen.

           5.   During this production, DLT will be collecting winter clothing items for Good Shepherd, Hamilton. What influenced the company to organize this and how can audiences help ensure that the clothing drive is a success? 

I have always felt that art should inspire. In the play, Grand Horizons, Nancy is organizing a clothing drive for refugees. Nancy wants to live in a world where people care about others and I saw an opportunity to follow her lessons. We reached out to the Good Shepherd and they were happy to partner with us. Audiences are encouraged to bring in their gently used seasonal clothing to the theatre on the night they see the show.

Thank you Ryan, for such fond insights regarding directing Grand Horizons and for finding such inspiration within the show to help set up a much needed clothing drive this winter!

Look for my full review of the show coming January 21.

For tickets and more information, please visit: https://dundaslittletheatre.com/tickets

Rehearsal photos provided by: Keith Sharp

#hamiltonontheatre #dundaslittletheatre #liveproductions #grandhorizonsplay

[steelcitygirlreviews]

REVIEW: Theatre Aquarius' POLLYANNA the Musical... a heartfelt delight for the holiday season

Emily Watt as Pollyanna Photography by: Dahlia Katz

Hamilton's Theatre Aquarius takes a bold, optimistic step with introducing a beloved children's book and classic live-action Disney adaptation starring Hayley Mills (who won a special Oscar for her role) to the stage with Pollyanna. There have been other adaptations throughout the years such as Polly, featuring an all-black leading cast and the most recent adaptation from 2003 is now 20 years old. Pollyanna was overdue for a retelling and her story, reimaged for the stage, fills Theatre Aquarius with light, love and infectious joy which couldn't have come at a better time during the holiday season.

The show wastes no time introducing the astounding Emily Watt as Pollyanna. We learn quickly of her situation: she is recently orphaned and sent to live with her aunt Polly whom she is named after. The town is intrigued by this frumpy little child who seems to have an almost unrealistically optimistic outlook given all she has been through. The opening number also wastes no time ensuring that the majority of the townsfolk, and by proxy, the audience, fall instantly in love with her. Watt's vocal and acting talents are, to put it mildly, incredible and she matches the skills of her seasoned castmates with a professionalism and grace well beyond her years. Look out for her. She is a star in the making.

Equally impressive is the breathtaking Jessica Sherman as Aunt Polly who, with extremely short notice, took the opening night lead while Michelle Barsach recovers from illness. Her stern and unwavering belief in duty is the much needed juxtaposition pitted against her gleeful niece and unlike the film, is the show's only true conflict. Watching Sherman's feelings play out through song was a refreshing way of understanding her past relationships and her change of heart is satisfying.

One of the unexpected stand out performances in the show is Adam Brazier as Pendleton, a disgruntled, hermitted man who is charmed by young Pollyanna and her ragamuffin friend Jimmy Bean (a sassy and delightful Athan Giazitzidis). His song Prisms was one of the few songs that actually stuck with me after the show, was sung with soaring emotion and really demonstrates the need to see people, places and things in a different light. He acts as a fatherly figure and there are moments on the stage where you can see he guides not only the characters of Pollyanna and Jimmy but the actors playing them as well which shows a real dedication and care toward his cast mates.

If Pollyanna is the heart of the show, the ensemble is truly its soul. Incredible performances from Linda Kash as cantankerous Mrs. Snow, Keith Savage as a jaw-dropping, unexpectedly tap dancing groundskeeper William, and Kelsey Verzotti as the eager and endearing maid Nancy. I also loved every moment Charlotte Moore had on stage, stealing the scene as the gossipy delight Widow Benton. Collectively, the ensemble are vocally stunning, enthusiastic and high energy. They embody the joy Pollyanna brings to their small town and carry it through even when tragedy strikes. Wonderful work by all.

It cannot be stressed enough how creatively designed this production is. The set design is minimalistic but the designs used pay great attention to the time period and takes the audience back to much simpler times. The lighting complements these designs and enhances the scene transitions beautifully. The only slight issue I had was seeing a large, foreboding looking tree in nearly every scene. As a film fan, I knew what that tree's presence meant and yet, it is never utilized beyond it being a set piece which I was slightly let down by. Clearly, as a staged musical, elements from the film versions needed to be altered for actor safety. The injury our beloved glad girl suffers is taken from the book's source material. This is my way of saying if you expect the musical to play out like the film, you will be surprised but hopefully not disappointed by the changes.

Pollyanna the Musical is a show that will warm the heart of any cynic. It is infectiously joyful, quick paced and leaves you feeling very grateful for what you have in life. Despite the current common use of the term to mean "excessively cheerful," the concept of Pollyanna's "glad game" as a method of coping with the real difficulties and sorrows that, along with luck and joy, will ultimately shape every life. This offers the opportunity for audience members to reflect on the world's current situations and how we can find glimmers of hope to change it for the better. Go and see Pollyanna the Musical this holiday season. You'll be glad you did.

For tickets and more information, please visit: https://theatreaquarius.org/events/pollyanna/

The company of Pollyanna the Musical Photography by: Dahlia Katz

#hamiltonontheatre #theatreaquarius

[steelcitygirlreviews]

REVIEW: HTI's Fun Home - An Ambitious and Heartfelt Premier for Hamilton's Theatre Community

Adapted from Alison Bechdel’s groundbreaking graphic novel, Fun Home is a refreshing original musical about the power of memory and how it helps us shape, reexamine or even destroy our identity. Moving between past and present, Alison relives her unique childhood playing at the family’s Bechdel Funeral Home, her growing understanding of her own sexuality, and the unanswerable questions about her father’s hidden desires. It was the unexpected winner of Best Musical at the 2015 Tony Awards, championed the underrepresented (specifically women writers and directors) and has become a sorely needed addition to the musical theatre zeitgeist.

Hamilton Theatre Inc. has taken an ambitious risk with producing Fun Home as part of their 65th season. It is Hamilton Ontario's premier of the show and there has been a great deal of anticipation regarding its opening. After several health based challenges leading up to opening night, the show finally opened its doors to Maple Avenue and the Bechdel "fun home." While the production has its flaws, it ultimately grants audiences a brave, humourous and heart-felt look at the lives of the Bechdel family and how tragedy can lead to healing and hope.

Director Tyler Collins has staged Fun Home to incorporate all the memories present-day Alison recalls. The main set is the house, which begins as a dusty relic and is unveiled as Alison's father's passion project and, as we discover, a way to express his closeted queerness. The set design has some effective reveal elements to it which I won't spoil here but shows the ingenuity in how to make larger scenes work on a small stage.

HTI often faces the challenges of spacing and this time, the orchestra is affected. Some members were in the loft and some were on the ground floor which often made the sound levels uneven and several songs were very difficult to hear over the instruments. Lesson 101 at HTI is always the power of projection as the cast is not mic'd and the hanging mics only provide so much assistance. Due to many cast members recovering from illness, this may have affected their ability to project so bravo to those who pushed through. That being said, audience members who are not familiar with the songs and story may find difficulty in hearing several cast members throughout. The production features some moody lighting that adds to the overall atmosphere of the show but is also underlit for several scenes. The actors faces were often so dark that the emotional impact was frequently lost. Perhaps, for the remaining shows, some extra spotlight usage or warm washes would help resolve this.

Where this show shines is in its casting. It is no easy feat to cast three individuals to play the same character at various points in their life. Collins and the creative team made brilliant choices in casting Kristi Boulton (Present-day Alison), Sabrina Gabrielle (Medium Alison) and Ariana Abudaqa (Small Alison). Each of these actors bring charm, humour and nuance to their performances and they even match one another in stature and vocal prowess.

Boulton interacts with the other versions of Alison in an endearing way while making hilarious quips about situations as she tries to make sense of her past. Boulton impresses with her deep understanding of the source material and channels the emotional impact of the story with deep respect and soaring vocals, particularly in Maps and the gut-wrenching Telephone Wire. Gabrielle embodies the nervous energy of Medium Alison perfectly while they accept their sexuality and their awkwardly joyful Changing My Major is equal parts funny and relatable. I hope to see more of Gabrielle on stage in the future. Small Alison is energetic and sassy, almost to a fault. There is undeniably a great deal of talent in Abudaqa but her performance of Ring of Keys comes off a bit too manic and less reflective in the realization of Alison's sexuality. It is a pivotal moment in the show and it doesn't have the impact it should. All this to say that at the finale, these three will have you tearing up with their powerful performance and gorgeous harmonization. Bravo.

While Alison is our protagonist, the show ultimately focuses on the strained relationship with her father Bruce, his closeted sexuality and the deeply concerning (and ultimately tragic) decisions he makes. Ian McKechnie is another strong casting choice in this role. He understands the levels needed to make this role work so that the audience never hates him but like, Alison, never truly understands him. The moments of rage and intensity delivered by McKechnie shows off his skilled acting ability and the tension and despair never feels phoned in. Very impressive work.

There is a great deal more to praise about HTI's Fun Home. Amber Mill's breaks our hearts with her tragically resentful Days and Days. This song is a key example of why musical theatre exists: to show emotion and reveal one's self when words simply aren't enough. Mills demonstrates the heartbreak in this song and it is delivered beautifully. The Bechdel brothers (Gretchen Tellez and Olive Millie) deliver some refreshing moments of levity in Come to the Fun Home and Raincoat of Love and Jackie Mahoney and newcomer to the stage, Ivan Bond provide balanced support as Joan (Alison's girlfriend) and various characters throughout. The costumes are period accurate for the 1970's and the colour matching for the characters, particularly the Alison trio, is creative and clever.

HTI's Fun Home is a welcomed piece of musical theatre in our community and almost a decade since its original debut, still has a story that needs to be told. Audiences will come to understand more about the rollercoaster of emotions while discovering one's sexuality, the hardships associated with it and how the past can be our greatest resource to accepting ourselves and those who impact our lives. Tickets are selling quickly for this Hamilton premier. Go to the Fun Home.

For tickets and more information, please visit: https://hamiltontheatre.com/tickets/

Photos by: Kreations Photography

#musicaltheatre #tonyawards #funhome #alison bechdel #hamonttheatre #hamiltonontariotheatre #HamiltonOntpremier

[steelcitygirlreviews]

REVIEW: Theatre Ancaster's Legally Blonde: The Musical is a delightful frenzy of pink, polish and purpose 

Entering an auditorium bathed in pink, Theatre Ancaster kicks off its 2023-24 season with the highly energetic Legally Blonde: The Musical.  Like its cinematic source material, the musical focuses on Malibu Sorority girl, Elle Woods who goes through a breakup with her boyfriend, Warner. To win him back, Elle gains admission to Harvard Law (what, like it's hard?), challenging the 'dumb blonde' stereotype and sending an empowering message of perseverance and reaching one's full potential.

Flooded in a warm wash of pinks and projected glitter, the show opens with eagerness and girly enthusiasm as we are introduced to the Delta Nu Sisterhood featuring the always impressive talents of Ellie Miller (Serena), Michelle Wagman (Margot) and Alanna Ferguson (Pilar). This trio is highlighted throughout, especially in numbers Positive and Bend and Snap and their chemistry and comedic chops are delightful to watch.

In a surprisingly quiet intro, Jennifer Budd takes the stage as Elle Woods. Budd's voice is sweet, warm and sassy. Her early characterizations don't always match her vocal prowess but we easily fall for and root for her. Budd's performance only grows in confidence and strength and, like Elle, she transforms into a force to be reckoned with especially in numbers So Much Better (that showstopping BELT!) and Legally Blonde and its reprise.

As the show progresses, we meet Warner (a deliciously snobby and amusing performance from Riley Macnab who impresses with his strong tenor and smooth harmonizing with Budd), Vivian (played by Emily Daquano who channels frigid cruelty beautifully and surprises us later on with her change of heart and belting encouragement to Elle) and the smarmy, egotistical lawyer and professor Callahan (played expertly by Jim Broadley). To say there is an enormous cast is an understatement but know that like with most musicals, the ensemble is the heart and soul of the production and this is no exception. Some standouts include Abi Veenstra as Enid whose characterizations are hilarious, Gareth Finnegan playing multiple ensemble roles but blows us away in There, Right There!, Stacey Bishop wows us with her spunky would-be murderess Brooke in the act two opener Whipped into Shape and, in a perfect cameo, Colin Lapsley has the audience cheering and hooting for his charming dreamboat Kyle, the UPS delivery person.

Of course, in this plethora of talent, I must mention the incredible performances by Elle's unexpected love interest and salon powerhouse best friend. Zain Lapsley is a young but believable Emmett who has such a wonderfully trained voice and kindness embodied in his character that any person would be a fool not to fall for them and their adorkable charm. Kate Rodgers is Paulette, a slightly deranged but relatable dreamer. Her performances are hilarious and full of enthusiasm. Her solo Ireland is ridiculously wistful and her confidence soars in Bend and Snap. Together, these two are Elle's biggest cheerleaders (that aren't in her imagination) and there has been notable effort put into building their characters. Bravo!

As per usual with Theatre Ancaster, the set design and lighting design are top notch. Since Legally Blonde is very focused on large, flashy choreographed numbers, there isn't as much set utilization as in past productions but this keeps scenes moving smoothly. The choreography is consistently impressive and deserved every moment of applause. There are some opening night glitches and the pre-recorded soundtrack leaves next to no margin for error which means this cast needs to work very hard to ensure they keep time with the tracks. This is a cast of real professionals who keep going and appear unfettered by any minor mishaps in choreography, dialogue or lighting cues.

The production team noted as well that Legally Blonde is a product of the early 2000's where usage of outdated slang, sexist language, diet culture (fatphobia in particular) and staged depictions of non-consensual sexual advances occur throughout. There are some lyric changes to smooth out some of these problematic issues, but where it was impossible to change, the audience is given warning which may sound like overkill for some, but many audience members will appreciate this acknowledgement.

The lasting impact of Legally Blonde: The Musical is very much like its leading lady. It appears fun and frivolous and it is, in the best way possible. However, the vulnerable moments throughout and the growth of the characters show that Legally Blonde is truly more than its surface level pink, glittery spectacle. Its message of persevering over stereotypes speaks as loudly as it did when the film and original Broadway production were first released. This message and its impact proves that finding one's purpose, even when the odds are stacked against you, never goes out of style.

Grab your favourite stuffed animal (extra snaps for stuffed puppies), wear pink, practice your bend and snap and get yourself to Theatre Ancaster. You will not be disappointed.

For tickets and more information, please visit: https://theatreancaster.com/shows/legally-blonde/

Photo credits:

Image 1: Elle Woods, played by Jennifer Budd, and her best friend Bruiser. Photo by Ana Rancourt.

Image 2:  Elle Woods and Emmett Forreset, played by Jennifer Budd and Zain Lapsley. Photo by Gareth Skipp. 

Image 3:  Paulette and Kyle, played by Kate Rodgers and Colin Lapsley. Photo by Gareth Skipp. 

Image 4:  Legally Blonde: The Musical's Delta Nu Ensemble. Photo by Gareth Skipp.

#musicaltheatre #theatreancaster #legallyblondemusical

[steelcitygirlreviews]

REVIEW: Insanity Doesn't Just Run in DLT'S "Arsenic and Old Lace," It Practically Gallops

Dundas Little Theatre (DLT) opens its 2023-24 season with the darkly comedic classic Arsenic and Old Lace. It's a great thematic choice for October: full of mystery, murder and of course, a little mayhem for good measure. Skillfully directed by Peter Lloyd, Arsenic and Old Lace is full of madcap characters, jabs at the theatre industry and its critics (of which there were several in the opening night audience) and despite its long run time of nearly 3 hours (3 Acts, 2 Intermissions), it captivates its audience with its hilarious mishaps and madness.

The story is a classic of old Hollywood black and white cinema with Cary Grant taking on the lead role of Mortimer Brewster, a man who has to navigate between his aunts’ penchant for poisoning wine, a brother who thinks he’s Teddy Roosevelt, and another brother using plastic surgery to hide from the police—not to mention Mortimer’s own hesitancy about marriage to his partner Elaine. If that sounds like a whirlwind of a production by synopsis alone, you'd be correct in saying so. Thankfully, we have an incredibly strong cast and after the opening night nerves subside, they excel at bringing delightfully comedic moments (especially physical), great banter back and forth, pointed commentary regarding the theatre world and its critics and an almost Benny Hill type use of the stage (there's even a few unexpected jump scares).

The leads in the production shine throughout with a few excellent scene stealers. Brian Melanson as Mortimer has brilliant facial reactions and a real knack for portraying believable manic energy. Both Ruth Flynn and Jessica Thomas-Troian as Aunt Abby and Martha respectively play out their darker deeds with such infectious sweetness, I'd eagerly take a glass of elderberry wine just because I'd feel rude not to. Tim Hevesi is a foreboding presence who immediately unnerves you as the criminally insane and family outcast Jonathan Brewster but also has a fantastic ability to use his menace for comedic purposes. Christine Marchetti is a sassy and grounded Elaine Harper, Mortimer's fiancée who finds herself the only sane character in the household. All these actors are no strangers to the stage and understand the nuances of dark comedy well.

Our scene stealers come from Jared Lenover as Teddy Brewster and Bruce Edwards as Dr. Einstein (no, not that one). Both of these actors are an absolute joy to watch from the moment they are introduced. There is an innocent enthusiasm from Lenover's Teddy who believes he is President Theodore Roosevelt and his mental health is utilized by his beloved aunties to hide any evidence of their "charitable intentions." The ongoing gag of his character would come off as tedious if it wasn't played with such endearing sincerity. Edwards plays the bumbling, drunken cowardice of Dr. Einstein with such dedication that it is easy to see why he steals every scene he is in. The line delivery and almost Muppet-like German accent are met with continuous laughter and his physical comedy skills are top notch.

The ensemble cast also delivers fine performances and overall, match the energy of the leads as they enter the Brewster madhouse. Truly, there are no small parts here as every cast member provides laughter and delight.

Arsenic and Old Lace has a well-established, classic sense of dark comedy, slapstick and charm. The script itself allows for so much physicality and ability for the cast to develop the characters into believable people rather than caricatures. It is a long show (bring cushions!) but it is well worth the time spent in the theatre and will provide audiences with plenty of laughs, intrigue and insanity. Don't miss it!

For tickets and more information, please visit: https://dundaslittletheatre.com/tickets/

Pre-show set from DLT's Arsenic and Old Lace - Photo by: Steel City Girl Reviews

#dundaslittletheatre theatre hamiltonon dundason #arsenic and old lace

[steelcitygirlreviews]

REVIEW: From Heroes to Villains and everything in between, Boy Falls from the Sky soars with relatability and enthusiastic charm

Boy Falls from the Sky is Jake Epstein’s deeply moving autobiographical show where the audience is given a heart-felt behind the curtain peek at the trials and tribulations of show business. The set is minimalistic, beautifully lit and gives a rare backstage glimpse of Theatre Aquarius’s enormous performance space. It is part play, part musical and undeniably relatable to anyone who’s had a dream and enthusiastically pursued it.

There are several stories and insights Epstein shares about his childhood auditioning days for shows like Oliver!, being on the beloved Canadian TV series Degrassi: The Next Generation and meeting several not-quite-famous-yet individuals during his time living in Harlem, New York. It is fascinating listening to every carefully planned piece and each segment flows smoothly, demonstrating Epstein’s keen ability for storytelling and engaging the audience. The stories never feel rushed and while the band occasionally overpowers Epstein’s vocals, the performances from everyone on stage are powerful and well-received. It was especially refreshing to see the band members become pseudo characters within Epstein’s stories, utilizing their talents beyond their instruments.

While Boy Falls from the Sky is filled with Jake Epstein’s various theatre credits, it is much more than a: “And then I was cast in….” retelling. The show soars with Jake Epstein’s delightfully trained vocal prowess, singing of songs from the various musicals he’s been in. Epstein shows great range throughout with songs like ‘Razzle-Dazzle’ (from Chicago), ‘All That’s Known’ (from Spring Awakening), ‘Up on the Roof’ (from Beautiful: The Carole King Musical in which he originated the role of King’s former husband Gerry Goffin) and of course, the show’s title song ‘Boy Falls from the Sky’ from the infamous Spiderman: Turn Off the Dark.

The true depth of this piece comes from Epstein realizing that making it on Broadway doesn’t necessarily guarantee that all your dreams automatically come true. Shaking hands with celebrities is a thrill but not when you are combating injuries, being vilified despite your creative insights and the deep sense of loneliness that impacts even the most enthusiastic performers. These realizations retain Epstein’s endless charm, his undeniable joy in performing, self-deprecating humour, impactful observations and irony (I, too, am “too tall” for musicals…and Epstein’s original song about his physicality really hit home).

Boy Falls from the Sky is a relatable and relevant show. It feels cathartic for an artist that has triumphed and faltered but never gave up. It encourages theatre enthusiasts to recognize their strengths in an often-unforgiving world of show business and that true success is found in the joy performing brings. This a true hero’s journey. Audiences will not be disappointed by the message that a boy may fall from the sky, but even wounded, will find the courage to get back up and keep fighting. The show will only soar to greater heights so don’t miss it at Theatre Aquarius, running now until November 4.

For tickets and more information, please visit: Tickets & Subscriptions - Theatre Aquarius

#hamonttheatre #theatreaquarius #jake epstein #musicaltheatre

[steelcitygirlreviews]

REVIEW: Emerson Arts FRIGHT NIGHT: Carnival is Monstrous Fun...

Emerson Arts is becoming synonymous with experimental theatre. With several original works under their company banner, they have delved into the surreal, the tragic, the nostalgic and the downright haunting. Their annual FRIGHT NIGHT series has enjoyed three spooky iterations thus far and this year's carnival theme may just be their most polished and gruesome yet.

Audiences are led by the Bearded Lady (an unnerving Renata Ona) through the "backstage" setting of a typical big top travelling carnival. Elements of inspiration can be seen from popular media such as American Horror Story: Freak Show, Carnivale and Nightmare Alley. The daring audience walk the haunted halls of Hamilton's COTTON FACTORY, and gather at various locations as monologues and group scenes play out before them, at times powerless to stop the horrors unfolding as they nervously (or gleefully) watch. It is an immersive and often interactive experience and it works overall, despite some atmospheric missed opportunities in lighting and sound. This is likely due to the safety measures in place for audiences and the cast of creepy carnies so it's understandable but it inevitably takes the audience out of the foreboding nature of the show going from scene to scene.

The synopsis is straightforward. An innocent runaway (a strong performance from Grace M.) finds her new home in the mysterious travelling carnival and she discovers the horrifying truths and sad realities of the one of the happiest places on earth. There's horror tropes galore here: monstrous mother figures, murder, possession, otherworldliness, insanity, blood rituals, sacrifice, and more that I won't spoil here. The script could use a bit of work, if only to fine tune each monologue or scene so that each piece flows more naturally. Due to the type of guided tour the audience undertakes, there is frequently too much silence and not enough engagement or scary atmospheric elements as they weave throughout the factory, which, perhaps unexpectedly, becomes as much a character as the performers themselves.

The strength of FRIGHT NIGHT: Carnival comes from the intense dedication of the actors in their roles. From the malicious Ringmaster (played with frightening delight by Katlyn Alcock) to the disturbingly beautiful dance of the wordless clown (an impressive performance from Ayva Money) and the unexpected uprising from the once-faithful Carnie (played with intense ferocity by DJ Wright), this ensemble has the love of horror and storytelling in their souls.

One of the strongest demonstrations of this comes from the Fortune Teller (a mysterious and playful Grace C.) who charms us during the audience interaction parts and ultimately has one of the best scenes channeling the demonic souls of lost runaways and buried secrets (beware the pianos....). The audience responds to this as expected. Small gasps, gleeful smiles at the gore and violence (bravo to the fight choreography - VERY impressive work here) and a deep feeling of trepidation mixed with nervous laughter throughout.

Emerson Arts will experience one of their most successful FRIGHT NIGHTS to date as the entire run is already sold out. Be sure to reach out if you feel daring enough to be put on a waitlist. It is spooky fun, and the guided tour format works well with the carnival atmosphere. The themes of family, belonging and revenge bring satisfying cohesion to this production and I hope the misfits enjoy this eerie evening of monsters and mayhem.

For more information about upcoming Emerson Arts productions, please visit: http://EmersonArts.ca/

#EmersonArts #spookytheatre #horror #liveproductions #hamiltonONtheatre

[steelcitygirlreviews]

INTERVIEW with Stephen Near of Same Boat Theatre and the limited run of the award-winning play WHALE FALL

Same Boat Theatre's Whale Fall is a one-act drama about the extinction of Canada’s southern resident orca population and the journey of one woman to find the last remaining whale while struggling to hold on to the memories of her father. Part coming-of-age story and part fable for the era of climate change, Whale Fall is an intimate duet between two characters as they navigate the painful waters of family, memory and species extinction. Written by Stephen Near (SN) and directed by Aaron Joel Craig, the show has received critical praise in both Hamilton and Vancouver and now, the show returns to Hamilton once more for a limited run before heading to Toronto.

I had the pleasure of interviewing Stephen and he shared several personal reflections of the show’s success at the Vancouver Fringe Festival and what plans the company has for Whale Fall in the future....

What inspired your company to take Whale Fall to the Vancouver Fringe Festival this past summer? 

SN: Well, the play takes place on the West coast, and starts off with the main character in Vancouver and then making her way up the coast. And, if any animal is emblematic of Vancouver, it’s the orca. They’re a regular sight for whale watching tours in the Georgia Strait not to mention holding special significance for the Indigenous people of the West coast. So, as a play that directly tackles the issues of species extinction and climate change through the story of the orca, Vancouver felt like a natural fit. Even when we were rehearsing the play last year, we talked about showing it out West. And, to be fair, we did apply to a number of other Fringes this past year including Toronto and Edmonton but they didn’t materialize. Vancouver was our one and only draw so it felt a bit like we were destined to show the piece out West. 

2. How would you compare Vancouver's Fringe Festival experience to the Hamilton Fringe Festival experience? 

SN: When we first performed Whale Fall at Hamilton Fringe, we were coming out of the pandemic with a brand-new script which we’d never tried in front of an audience. For Aaron and I, it was also our first time working with Stephanie Hope Lawlor and Ray Louter as actors in a really personal play. The success of the play in Hamilton took us a bit by surprise. Not because we had doubts in the material or the performers, but that the audience would react to it so positively and strongly. Our houses and the reviews reflected that. In Vancouver, we didn’t have a built-in audience. We had the accolades from the show but we were facing a much larger festival (80+ shows) and an unfamiliar community.

It felt a bit overwhelming but, at the same time, we lucked out in our venue. Aaron and Ray knew some of the people at the Pacific Theatre and that allowed us a bit of reassurance when the show first hit the stage. We managed to catch a few shows outside of our performances but a lot of our downtime was spent keeping ourselves focused away from home and experiencing Vancouver as a company. It was an amazing experience, and one which has strengthened us as a company.

3. Did Whale Fall resonate differently with the Vancouver audience due to the show’s subject matter? If so, how?

SN: It certainly hit a lot of audiences harder. There were several viewers who came out of the performance weeping and others who met me after the show or subsequent Fringe line-ups who really had a strong reaction to the piece. But, perhaps, what made the biggest impression were the stories people told me both post-show and in Fringe line-ups when I was handing out postcards. Many audience members told me of their own close encounters with orca or whales, in general. Some older viewers were also involved in the environmental movement that started in BC in the 70s and 80s and connected with the play on that level.

By and large, though, I think the themes of searching for hope and coming to terms with loss resonated in many of the same ways as they did with Hamilton audiences which perhaps points to why this play has such universal appeal

4. How has the production changed since its initial staging in 2022? What have been some highlights and challenges in reworking aspects of the show? 

SN: The script has changed in some significant ways although the overall theme and story have not. We are still following Becca’s journey to find the last remaining orca. We are still reliving moments between her and her father, Steven. But I did write additional scenes and refine existing ones especially where they concerned Becca’s past conversations with her dad. We touch on a lot more specific moments that helped to clarify her journey in the present. And we also changed the ending. A bit. That was a magical moment in rehearsal when we all sat down, knew our original ending wasn’t hitting the way we wanted it to and hammered out something new.

Revisiting and reworking scripts post-first run is actually my favourite part of the playwriting process and I know we all enjoyed diving back into the play after a year away from it. At the same time, the challenge always comes when you revisit a piece. You ask questions of the material and the characters and the answers aren’t always easy to find. I mean, Aaron, Stephanie and Ray all continued to probe the characters and their motivations even after the script was largely nailed down. For me, that’s when you find the real gems hidden within a script.

5. Whale Fall will enjoy a limited Hamilton return at the Hamilton Conservatory of the Arts later this month. What influenced this decision and what’s next for the production (or Same Boat Theatre in general)?

SN: After the HCA Performing Arts Sunday Series, Whale Fall will premiere at Toronto’s Red Sandcastle Theatre. Located in the city’s east end theatre district, Red Sandcastle is home to Eldritch Theatre and is Toronto’s longest operating ‘storefront’ theatre and we’re really excited for the chance to show it there. The desire to bring the show to Toronto really came out of mine and Aaron’s desire to expand the reach and the audiences of Same Boat. As for Red Sandcastle, I know the owners really well. They took the theatre over during COVID and have really opened up the space as an alternative theatre venue so we wanted to support them.

As for what’s next for Same Boat, well, Aaron and myself have a lot of things we’re cooking. And, when we were in Vancouver, we had a chance to collaborate with Stephanie and Ray on some of those plans. I can’t speak to specifics but there’s lots more to come. The success of Whale Fall, both here and in Vancouver, as well as the fact that we’re coming up on our 10th anniversary has really given Aaron and I the confidence to take the company in some bold new directions. The fact is that we’ve been creating new theatre together in this city for over a decade. We push each other professionally and creatively while being dedicated to keeping the company moving forward. Our company is a Hamilton success story… and the story’s not done.

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The journey of Whale Fall continues on for Same Boat Theatre and I am very excited that the production will continue to deliver some very beautiful and tragic insights into how climate change affects more than what the eye can see. In my Hamilton Fringe review, I referred to the show as "harrowing" and "poetry in motion." I stand by these statements and hope Hamilton and Toronto audiences resonate with this show and with the fascinating original work Same Boat Theatre provides.

For tickets and more information, please visit: https://hcadancetheatre.com/product/whale-fall/

Photo: Actors Stephanie Lawlor and Raymond Louter. Photo provided by Same Boat Theatre

#whalefallplay #hamiltonontheatre #climatechange #originalplays #hamiltonconservatoryforthearts

[steelcitygirlreviews]

PREVIEW: Interview with DLT's Jared Lenover

Dundas Little Theatre opens its 2023-24 season with a darkly comedic classic Arsenic and Old Lace. It's a great thematic choice for October: full of mystery, murder and of course, a little mayhem for good measure.

I had the pleasure of a virtual interview with one of the cast members who is no stranger to playing unusual characters. In his stage career, Jared Lenover has come to be known for his ability to take characters and endear them to audiences. We discuss his character of Teddy Brewster, his process and what audiences can expect from this production. Audiences can now also check out the newly revamped website for Dundas Little Theatre thanks to Lenover and his partner's creative efforts as well!

INTERVIEW with Jared Lenover

SCG: What influenced you to audition for Dundas Little Theatre's Arsenic and Old Lace?

JL: I was involved with several shows at DLT before Covid and wanted to get back in the game. Last season I helped behind the scenes on Myth of the Ostrich and An Inspector Calls. That was great, but I missed being up on stage so I came out to auditions this year. I also remember watching the movie version of Arsenic and Old Lace when I was younger -- and realized it would be a quirky and fun show to be part of. It's got an energy all its own, with unique characters and a twisty plot.

SCG: For those unfamiliar with Arsenic and Old Lace, how will the show speak to audiences?

JL: The show's got a dark streak -- I mean, there are actual bodies in the cellar -- but it's also charming, lively, and funny. It's a great show to enjoy around the Hallowe'en season.

SCG: What challenges, if any, have you faced while bringing your character to life and what have you taken from the experience?

JL: I play the main character's younger brother, who believes he's Teddy Roosevelt. The best part about playing Teddy is the the joy and enthusiasm he has for being president. It's an energetic, fun role to play. I did have to learn how to blow a bugle though -- which isn't as easy as it looks.

SCG: How have you explored the themes of mental illness, particularly with your character Teddy, and how that impacts the comedic aspects of the show?

JL: Mental illness is definitely part of the character make-up and plot of the show, but it's handled in a lighthearted way. As Mortimer says: "Insanity runs in my family… It practically gallops." I think when it comes to Teddy the important thing is the love and support he gets from his aunts and the community… as long as he's not blowing his bugle in the middle of the night!

SCG: What have you found rewarding about bringing this production to the stage?

JL: I've enjoyed being part of the production in different ways. I'm on stage, but I've also helped with the website and online promotions so it feels like I'm really invested in the show. In the end, it's just great to be part of bringing a fun, entertaining show to the audience!

SCG: What inspired you and your partner to come forward with these ideas and how will these changes help audiences this season?

JL: I helped launch the new version of Dundas Little Theatre's website this month and my spouse, Chris, is designing the promotional materials for the shows this season. For Chris, it's a way to use their talents to support me and the local arts scene. I love being on stage, but I'm also really interested in production and helping behind the curtain. One of the biggest changes we've made as a company this year is making it possible for people to buy tickets online. It's been exciting to be part of that -- and it should make things more convenient for people to come see the shows!

Thank you Jared for your insights and dedicated work leading up to the show's opening! Arsenic and Old Lace looks to be a hit on the horizon for the company and I look forward to seeing what delights the cast and crew at Dundas Little Theatre have in store!

For more information, please visit: https://dundaslittletheatre.com/tickets/

Photo: Jared Lenover, portraying the role of lovable and confused Uncle Teddy Brewster in DLT's upcoming production of Joseph Kesselring's Arsenic and Old Lace

#dundaslittletheatre #arsenicandoldlace #theatre #hamiltonon #dundason #liveproductions #theatreinHamiltonarea

[steelcitygirlreviews]

FROM TINY SEEDS GROW MIGHTY TREES:

STEEL CITY GIRL REVIEWS INTERVIEW WITH CO-FOUNDER OF RED TREE PERFORMANCE ACADEMY

Inclusion. Development. Pride. That is what to expect from the founders and teachers of Hamilton’s Red Tree Performance Academy which has set its roots (figurately and literally) in downtown Hamilton in 2021. Founded by siblings and performance enthusiasts Dustin and Breann Jodway, Red Tree offers a wide variety of performance-based classes such as music lessons, vocal coaching, audition preparation and even burlesque!

I had the pleasure of a virtual interview with Dustin Jodway, aforementioned co-founder and head coach, who explains how the academy has grown and developed since its opening and how the Hamilton community can continue to support performing arts.

SCGR: Describe the inspiration for this artistic academy and how it has developed since opening in 2021?

DUSTIN JODWAY: The inspiration for Red Tree Performance Academy stems from the immense talent and passion of our friends, as well as their deep love for music, performing arts, and the transformative power of creativity. Red Tree Performance Academy is a testament to our unwavering dedication to nurturing artistic growth and providing a platform for individuals to explore their artistic potential. The name itself, "Red Tree," holds a poignant significance as it represents our late father, Ric. Dad had a unique ability to find beauty in every aspect of life, and his balcony overlooked a strikingly beautiful red tree. Alongside our mother Mary Lou -their unwavering support and belief in us,  and our artistic endeavors have become the guiding force behind the Academy.

Since opening our "doors" in 2021, Red Tree Performance Academy has continued to evolve and flourish. It has become a welcoming haven where individuals of all backgrounds and talents are embraced and celebrated. The Academy embodies the spirit of growth and transformation, symbolized by the phrase "From tiny seeds grow mighty trees." It encourages individuals to come as they are, unapologetically, and be part of a community that values authenticity and creativity. At Red Tree Performance Academy, the focus is not only on creating music and art together but also on fostering deep connections and a sense of belonging. It is a place where individuals are encouraged to explore their artistic passions, discover their unique voices, and collectively create something beautiful.

SCGR: What have been some challenges in developing the program you offer and how have you overcome them?

DUSTIN JODWAY: Opening Red Tree Performance Academy during a pandemic posed significant challenges for us. The uncertainty and restrictions made it difficult to navigate the logistics until moving into our brick-and-mortar establishment. However, with the unwavering support of our family and friends, we were able to persevere and open our doors in April. Their encouragement and assistance played a crucial role in overcoming these hurdles and allowed us to create a space where individuals can explore their artistic passions and find solace in music and the arts. Establishing a business in the heart of downtown Hamilton also brought its own set of struggles. The economic crisis further aggravates the difficulties we faced. However, we firmly believe that music should be accessible to everyone, regardless of their financial circumstances. To address this, we are committed to keeping our prices as affordable as possible. We understand the importance of working with students and their families to ensure that financial limitations do not hinder their access to music education and artistic opportunities. By fostering a supportive and collaborative environment, we strive to make music an integral part of everyone's life, regardless of the challenges we face. Together, with the strength and resilience of our community, we can overcome any obstacle and continue to nurture the artistic growth of our students. 

SCGR: What have been some of your favourite moments in working with your students and the community at large? 

DUSTIN JODWAY: Working with participants from our various Adult Day programs is always a cherished experience. Witnessing the joy on their faces and witnessing their remarkable progress in terms of confidence and performing in front of their peers is truly heartwarming. One of the standout moments was when we had the opportunity to organize a talent show with one of our programs. The emotional impact of that event was overwhelming, as there wasn't a dry eye in the house. It was a beautiful testament to the power of the arts in bringing people together, transcending differences and creating a space where neurodiverse and neurotypical individuals could share their talents and love for the arts. At Red Tree Performance Academy, working with students of all ages has been an absolute pleasure. From the youngest performers at the age of five to the young-at-heart individuals at the age of 75, we have had the privilege of teaching and learning alongside them. The diversity of backgrounds and life experiences that walk through the doors of our academy is truly remarkable. Each encounter becomes an opportunity for mutual growth and understanding. Lastly, being able to work alongside my best friend and sister has been an incredible blessing. When you do what you love with the people you love, it doesn't feel like a job but rather a fulfilling and joyful journey of shared passion and purpose. 

SCGR: How does Red Tree's vision speak to Hamilton audiences/potential students or audiences in general?  

DUSTIN JODWAY: Red Tree’s Vision holds a special appeal to Hamilton audiences and potential students because of its commitment to fostering a non-judgmental and non-competitive environment. In a world often marked by intense competition and judgment, Red Tree’s Vision stands out as a sanctuary where individuals can freely express themselves and explore their artistic potential without fear or pressure. This inclusive atmosphere resonates with the diverse and accepting community in Hamilton, promoting a sense of belonging and encouraging individuals to embrace their unique identities and artistic voices. Red Tree’s Vision offers a wide range of transformative practices such as instrumental, vocal, meditation, breathwork, and dance, among others. 

These holistic approaches not only nurture artistic growth but also promote personal well-being and self-discovery. By incorporating these practices into their artistic offerings, Red Tree’s Vision appeals to individuals who are seeking a more holistic and mindful approach to their artistic journey. As a family-owned and operated establishment, with a focus on LGBTQ inclusivity, Red Tree’s Vision further strengthens its connection to the heart of downtown Hamilton, resonating with the local community's values of diversity, acceptance, and creativity.

SCGR: What excites you about upcoming productions and opportunities for your students and how can the Hamilton community support your efforts? 

DUSTIN JODWAY: I am incredibly excited about the upcoming production and opportunities for our students. One of the highlights is our Junior Broadway production of Sister Act Junior. This iconic musical offers a fantastic platform for our young performers to showcase their talents and gain valuable experience. The energy and enthusiasm that our students could bring to the stage is truly inspiring, and I cannot wait to see them shine in this exhilarating production. The rehearsals and preparation for Sister Act Junior will provide our students with a deeper understanding of teamwork, discipline, and dedication, which are valuable life skills that extend far beyond the stage. What truly makes these opportunities even more fulfilling is the potential support from the Hamilton community. We are actively seeking donors who can help us bring this production to life. The support from the community can make a significant difference in providing the necessary resources, such as costumes, sets, and technical equipment, to create a professional and memorable experience for our students and the audience.

By rallying around our efforts, the Hamilton community can play a vital role in nurturing and celebrating the incredible talent we have within our city. Together, we can create a vibrant and supportive environment where young artists can thrive and contribute to the cultural richness of Hamilton. 

Or just come take some classes!

Thank you Dustin for your wonderful insights! If you, or someone you know, are looking for a way to express yourself in a safe, inclusive environment then look no further than the Red Tree Performance Academy. I have been inspired by these entrepreneurs and look forward to supporting their endeavors in the future. Remember: from tiny seeds grow mighty trees….

FOR MORE INFORMATION ON CLASSES, PLEASE VISIT: HTTPS://WWW.REDTREE.ACADEMY/

#redtreeperformanceacademy #hamonttheatre

[steelcitygirlreviews]

PREVIEW: How Fundraisers Help Theatre Communities Learn, Grow and Thrive

Curtain Call Performing Arts Company (CCPAC) has been working at establishing themselves over the past few years. They, like their mandate, have grown since 2019, performed several top notch musicals and have learned many important lessons on how to thrive and survive in the arts community. Now, CCPAC is looking to find themselves a permanent home to further develop their many performance-based programs such as Novice Musical Theatre, Pop Choir, Intermediate Musical Theatre and, new this year, the Masterclass Series.

I had the pleasure of a virtual interview with the Artistic Directors Danielle Viola (she/her) and Kat Baronowski (she/her) to discuss their upcoming Concert Fundraiser which annually supports the CCPAC endeavours.

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SCG: Describe the inspiration for this concert piece and how it was finalized by the production team.

Danielle and Kat: The concept of CCPAC The Concert began last year; we wanted a way to kick off the Curtain Call season that celebrated musical theatre and the performers that we have worked alongside in our past season. This year, we made the decision to make the concert an annual CCPAC event that highlights performers from our youth, teen, pre pro and professional sections of Curtain Call while also fundraising to create our permanent home, a studio theatre.

SCG: What have been some challenges in creating and workshopping the concert performance and how have you overcome them?

Danielle and Kat: Creating a concert is no easy feat; it has taken hours of going through the music from hundreds of musicals trying to choose a combination of music that creates a fantastic concert for audiences members while also highlighting each performer. It has taken weeks of vocal rehearsals before we even started blocking and choreographing the pieces to make sure that everything is sounding crisp and blending perfectly together. We have a phenomenal cast and crew that make the difficult process a ton of fun. We have been together almost every weekend since the beginning of August and by Sunday afternoons we are still laughing and having a fantastic time. Everyone has a great attitude and are really pouring their hearts into this project.

It means the most to us that our team believes in us and supports the company by putting the time in to create a fantastic concert.

SCG: What have been some of your favourite moments putting this concert performance together?

Danielle and Kat: Although creating a concert is a ton of work it is also a great experience for the creative team and performers. We all get to perform songs from musicals that we may never have the opportunity to perform in, which is really special. Each person shows up to support the others, not only is this a phenomenal professional cast but our teen and youth performers are really growing and learning from the adults which is creating a beautiful relationship and instilling the environment that Curtain Call has always had, a supportive theatre family.

Rehearsals have been really amazing, the pieces are sounding phenomenal and we are still a few weeks away so we are so excited to see how blown away audiences will be on opening night!

SCG: How will this fundraising concert speak to Hamilton audiences or audiences in general?

Danielle and Kat: We hope that our audiences come to celebrate the love of the arts in the community and see pieces from musicals that take them away from the day to day and let them laugh, celebrate and dance along with us. Hamilton will recognize some of the faces on stage and will be able to also witness some very talented up and coming performers that are in the community. They will also get the opportunity to see the amazing Gasworks space used as a theatrical concert which is a delight.

SCG: What excites you about this fundraiser and how can the Hamilton community support your efforts this season?

Danielle and Kat: Not only is this concert a fundraiser but it is also a phenomenal concert with a remarkably talented cast. We are excited to start our journey in our year of fundraising with a concert styled show with over 100 costumes, full dance numbers, concert lighting and amazing harmonies. We had to switch gears with rental spaces this year very fast and it has affected us a lot for our small, young company. We will also be hosting a 50/50 raffle and a silent auction at the concert that already has some amazing items donated by local businesses including Starburst Dancewear, Caro Restaurant and many more with all proceeds going towards our goal of creating a studio theatre space.

Buying a ticket to the concert is one of the best ways the Hamilton community can support our goals this season, every ticket sale makes a huge impact on our ability to make a home for CCPAC and to continue fostering a love of the arts in the local youth. We also encourage the community to purchase tickets to our season that are all available now; shows include The Wizard of Oz (Youth Edition), Mean Girls (High School Version), our Pre Professional Company presents The Drowsy Chaperone and Spring Awakening presented by our Passion Project Company.

We also have a sponsorship package for businesses and individuals that would like to be a season sponsor that has a variety of benefits depending on the level of donation. Our Curtain Call merchandise will be for sale at all performances, and our programs get started in October so it is not too late to register your budding star or audition for some of our older programs.

We appreciate every bit of help we can get in reaching our fundraising goals this season, we want to be able to continue offering all performers, no matter what age, and inclusive and supportive space to practice their craft and to learn, grow and perform.

The Concert Fundraiser runs at Gasworks from September 28-30th. Please see below for more details and ticketing information. I can speak to the caliber of performance this company delivers show after show. Don’t miss it!

[steelcitygirlreviews]

REVIEW: Theatre Ancaster's CABARET: A Powerhouse Production

Dark. Brooding. Atmospheric. As the audience entered the vast auditorium of Theatre Ancaster, there was an immediate sense of something forbidden and enticing we were about to witness. That feeling that we were privy to a seedy club where we could leave our troubles behind and watch beautiful people dance, entertain and enrapture us for a few hours. How right these feelings were and also, how foolish to think that’s all we were about to witness. 

The magnificent orchestra welcomes us with a coy vamp as eccentric and scantily clad performers of the infamous Kit Kat Klub take the stage. Our Master of Ceremonies (Emcee) beams at the audience like they have a very dirty secret and they can’t wait to tell us: Welcome to the Cabaret. You aren’t ready for what we have to show you.

Once I saw the diversity, body positivity, vocal prowess and cast of characters who were dripping with sensuality and giving it their all in the first ten minutes, I knew that this show was going to be something very special. 

Director Nupi Gokhale explained the importance of socially responsible theatre especially in our current political climate. Why Cabaret? Why does this particular musical still resonate so much when its subject matter is about Depression Era Germany? Look carefully and open any legitimate news source and you’ll see why. The themes of sexuality, political discourse, heinous acts of hatred, poverty and deciding whether or not to be unaffected or to escape (if your privilege allows) are as relevant now as they were almost a hundred years ago. That speaks volumes to the lasting impact of Cabaret and why it has been so successful throughout its long musical theatre history. The entire production team, under the skillful and precise direction of Gokhale, understood this and ensured the audience would never forget it.

Back to the show itself. Our Emcee is performed by the incredible Riley Daniel Macnab who is commanding, coy and in absolute control in the first act. Macnab watches gleefully with just a touch of playful malice throughout every scene, even when they are not the focal point. A talented dancer with a phenomenal tenor voice, Macnab wowed audiences in the first act especially in the opening number Willkommen, Two Ladies (joined by equally impressive ensemble members and a see-saw in a gender-bent romp on stage and through the audience), Money and then broke them in the second act with numbers such as I Don’t Care Much and of course, the dissonant and chilling Finale. Their dehumanization was displayed so powerfully that by the end of the show, I was in tears (and I do not cry publicly). An absolute powerhouse performance.

Our other leads and supporting characters also showcase impressive amounts of talent. Our lost and aspiring writer, thrown into a world he doesn’t quite understand, Cliff Bradshaw is portrayed by Owen Lapsley who not only acts as the audience’s counterpart throughout but Lapsley also designed the immense and stunning set pieces and was involved in several other aspects of the show’s overall production. Lapsley is very well cast here with a great understanding for the nuances in his performance and explores his sexuality in a way that respects queerness, especially by today’s standards. 

His complete opposite is the charismatic, manic and breathtaking Giselle Magie as Sally Bowles. In a refreshing change, Magie does not emulate the Sally Bowles of the past (Minelli, Richardson) but captivates us with her unique interpretation of Sally’s naivety, hopeful vulnerability, lust for life and complete desperation by the time she performs the eleven o’clock number and title song Cabaret. Magie was meant for the stage and this role cements that. Her dynamic and chemistry with Lapsley is believable but ultimately, tenuous. Their romance in the second act is shattered by the dramatic turn of events and how Sally’s clinging to the past will ultimately bring her demise. Both performances at the end are heartbreaking and deserved every moment of applause from the audience. 

Continuing through our cast of characters are the slightly more subdued but realistic characters of doomed couple Fraulein Schneider (performed by Laura Almeida) and Herr Schulz (performed by Bailey Robb). These two exude endearing charm and a sweet romance in songs like Couldn’t Please Me More and Married. These moments are then crushed by the growing threats surrounding them. Their story is less flashy but is absolutely gut-wrenching as Schneider belts out about needing to survive even if it means sacrificing her love in What Would You Do? Powerful stuff.

Finally, I would be completely remiss to not give the highest praise to the supporting cast and phenomenal ensemble and crew. Fraulein Kost (Andrea Bairdado) is a delightful wench with beautiful solo moments in Married and Tomorrow Belongs to Me (reprise). Herr Ernst (Rylie Santo) is a carefully constructed and fist-clenching villain. The ensemble is jaw-droppingly impressive with their deep respect to Fosse and the precise choreography that made the movie version so memorable (their staging of Mein Herr was perfection). There are even unexpected moments of acrobatics, ballet and tap throughout. It is very sensual, raunchy and the amount of trust these dancers place in one another is incredible. Their vocals added chills to numbers such as Tomorrow Belongs to Me (both versions) and the combined efforts of cast and crew ensured every set piece was moved quickly and despite a few snags, very effectively. The entire production should be proud of all their efforts in bringing this show to the stage. 

If it wasn’t obvious by now, Cabaret has a deep significance in my life. I have seen numerous productions over the years and each one (including one I stage managed in 2008), has a special place in my heart. The story, the music/lyrics, the politics, and the showmanship are just a few reasons why this show is as successful as it is. It carries with it a history that refuses to be forgotten and each interpretation of the show has gravitas and weight that will stay with an audience long after the lights snap out on stage. I cannot stress how much audiences need to experience the joys and heartbreaks of Theatre Ancaster’s Cabaret. I feel compelled to see it at least once more during its run. Go to the Cabaret, old chums. Life is truly a cabaret. 

For tickets and more information, please visit: https://theatreancaster.com/shows/cabaret/

#hamiltonontario theatre #theatreancaster #cabaret musical

[steelcitygirlreviews]

REVIEW: CCPAC's INTO THE WOODS  an ambitious journey into a Sondheim classic... 

Curtain Call Performing Arts has chosen an ambitious and beloved Stephen Sondheim musical for their season finale with Into the Woods. The musical intertwines the plots of several Brothers Grimm fairy tales and explores the consequences of wishing for a happily ever after. 

Often, fairy tale characters don't feel the weight of their actions' consequences. They do as they're told, and their wishes fall into their laps. Into the Woods cleverly emphasizes that this results in characters who are equal parts discontent and who don't understand the importance of their responsibilities. 

In a mere seven weeks (an impressive feat), the company beckons the audience to join them on their journey into a beautifully designed set that is both enticing and foreboding. It certainly set the tone as the audience wowed set designer's Zachary Viola's artistry on stage. Once the audience enters the woods, we find a production that is far from perfect but remains consistently professional and full of potential.

Our unreliable and cheeky Narrator (played by Abigail Henry who truly lights up the stage with their presence) introduces our main players and gives insight into their hopes and dreams, ranging from practical to wistful to downright absurd. It is a large, frequently transitioning cast and considering the constraints of HTI's studio theatre, they manage to block the opening number quite well with limited issues throughout. 

There's a wonderful mix of diversity in newcomers and familiar Curtain Call alumni alike and the wealth of talent, budding and established, is what makes this show special. The more experienced cast members work effortlessly to cover up any minor fumbles, especially when they are all at the mercy of a pre-recorded score which allows next to no room for error. Sondheim is renowned for challenging material (especially lyrically) for even the strongest performers so when you lose yourself, it takes great strength to come back from a slip up or sour harmony. The cast received well earned applause for being so dedicated to the material and their comradery on stage.

Some of the standout performances come from the Baker's Wife (a perfectly cast Nicole Martin who performed with huge range of believable emotion), Jack (an impressive and endearing Alexander Gonsalves), Cinderella's Prince (played by Justus Alexander who chewed the scenery with great comedic timing and had the audience in the palm of their royal and, at times, wolfy hand), and the Witch (an intensely dedicated Layne McKellar whose Witch’s Rap in the Prologue earned applause mid-song).

One of the production's greatest setbacks was the sound. I empathize with how intense the sound controls must be when micing a large cast with several one liners. The music tracks were often too loud, drowning out anyone who was not miced and we strained to hear them even when they were. This takes us out of the fantasy too frequently and like with all musicals, the lesson here is never rely on your mic and be sure you know how to project. This was demonstrated by the Witch and Narrator most often, who showed great skill pushing through their difficult numbers even when their mics had issues. That dedication to remaining professional embodies what this company set out to accomplish in such a limited time and the entire company deserves recognition for it. 

The show is a treat for the eyes with careful consideration from the production team toward costuming, lighting, atmosphere and even interpretative creatures such as birds, horses and trees. I would have loved to see more nature incorporated into the interpretive dances such as using branches to be more tree-like but as it is, those aspects were well performed without being too silly. I appreciated the interpretation and how the dance ensemble was utilized. 

Into the Woods is quite a musical adventure with a gauntlet of emotion coursing through it. The cast succeeds in so many ways and their enthusiasm, characterization and skill sets prove that even a musical notorious for its challenging staging and lyrics is a truly rewarding experience for young professionals. 

There are limited seats available for their remaining performances Friday August 11 and Saturday August 12 so pack up a basket, stay on the path, avoid wolves and giants and join CCPAC on their final journey this season!

Photography by: Kreations Photography

For tickets and more information, please visit: Box Office - CCPAC (curtaincallpac.ca)

#hamiltonontario theatre #into the woods #MUSICALTHEATRE

[steelcitygirlreviews]

FRINGE REVIEW: Extremely Loud and Incredibly Fat

Two things I dislike about stand-up comedy: fat jokes and using fat jokes to make people laugh. As a plus-sized person, the cringe is real and if I am being honest, the premise of Doug Koning’s show about being fat and weight loss fads and failures made me very hesitant to attend. How relieved I was to discover that there is far more heart than there is mockery in this very personal and relatable story. 

Koning was made aware that his health was in trouble a few times in his life. He talks about not being sporty (and we related) and he talks about the Pizza Hut buffet (and we relate) and he talks about using food as a comfort when grieving (and we relate). The jokes are funny but not cruel....well, not too cruel. What they are are honest reflections and self-deprecations of a human being striving to be well and get through life. 

As the set continues, Koning details weight loss momentums and declines, the fear of dying and some harrowing stats about skin removal. It hit home. And we relate. 

As part of the Fringe, it’s an unexpected comedy show with immense heart and sincerity. Go and cheer incredibly loud for this one. 

Event Details

Price: $12

Genre: Storytelling/Solo Show, Theatre—Comedy

Duration: 60 mins

Warnings: Coarse Language

Age Suitability: Parental Guidance (ages 13+)

For tickets, please visit: https://hftco.ca/events/extremely-loud-and-incredibly-fat-2/

#hamiltonfringefestival