Justin’s Next Stage Festival Roundup

Getting ready for the wedding night are Julie Tepperman and Aaron Willis in Yichud/Seclusion

Justin Haigh gives you the lowdown on all the shows featured at this year’s Next Stage Festival. Profound dedication and a heated beer tent will produce such results.

*Yichud/Seclusion*
This three part play about the nature of manhood, marriage and sexuality in Orthodox Judaism demonstrates that playwright Julie Tepperman understands how to make a one hour piece work.

Centred around a traditional Jewish wedding, each of the three scenes tackles a relationship between different members of the same extended family - newlywed husband and newlywed wife, elder husband and elder wife, brother and brother and cousin. Each scene not only tells its own small story but hints at something larger without awkwardly trying to cram that something larger into the confines of the show. Swings in the mood of the first two scenes are slightly jarring but it’s not enough to ruin the old-country charm and tender humour that dots the narrative - such as when Chaim, the naive newlywed husband attempts to prepare a coital sheet according to a manual provided to him by his brother. A solid cast, a fascinating choice of subject matter, and an authentic audience experience (the first time this reviewer has donned a Yarmulka for a play), make for a memorable show.

*The Rake’s Progress: Do You Know Where Tom Rakewell Is?*
This work based on a Stravinsky opera, which is in turn based on a series of paintings by William Hogarth, recounts the tale of Tom Rakewell, a young Englishman set to marry his sweetheart Anne, until he comes into a large inheritance, moves to London and falls into a decadent cycle of hedonism and debt. Unfortunately the tale is just too mammoth to be fully fleshed out or appreciated in an hour’s time (not an uncommon problem with Fringe and festival shows) and the emotional impact that should come with such a downfall is therefore lacking. Having said that, the artistry behind the production renders it very watchable with a remarkable ensemble performance (with special mention to Julie Tepperman as the long-suffering Anne) that does justice to the poetic dialogue and some striking directorial touches. Tableaus evoking Hogarth’s paintings are a particularly strong element, even if the scenes they introduce are somewhat abstract.

*L’Ange Avec Les Fleurs*
This play within a performance certainly challenges one’s expectations of what a group or artists from Orlando and Austin are prone to putting on stage. Set up as a war-time French cabaret “L’Ange avec les Fleurs” mixes song, dance and hokey asides with the tale of Baptiste the Clown, a superstar circus entertainer who determines that his profession is at odds with his happiness and sets out to redefine his life. Baptiste’s lesson-laden tale is bearable but grows a little tedious by the end of the 90 minute show. Fortunately the staging more than makes up for it with a clang-happy jazz band, delightful puppets, imaginative and unexpected set pieces, running gags and a big French bear. Those expecting a refined, calculated piece of “theatah” should opt to stay clear but those who don’t mind leaving their critical sensibilities at the door in anticipation of some good-natured goofiness will emerge with a smile.

*Take It Back*
This recent Fringe hit returns with a bang, bringing their unique brand of Breakdance and Swing fusion back into the spotlight. Although Solid State’s show is all dance and completely dialogue-free, it is also theatrical, humourous, imaginative and utterly impressive. All four performers are superb technical dancers but also charming showmen who know how to create infectious energy. A memorable electro-jazz soundtrack, hypnotic one-on-one duels, and simple narratives woven into the choreography are just icing on the cake. Breakdancing has long been associated with hip-hop and ‘urban’ culture but Take It Back undermines that stereotype with a brilliant and entertaining crowd-pleaser that opens up the genre to widespread appreciation.

[img_assist|nid=647|title=Erin Brandenburg in Ressor, photo: Ed Gass Donnelly|desc=|link=none|align=right|width=384|height=256] *Reesor*
Reesor is the story of the birth, and eventual demise, of a small northern Ontario community founded by eastern European settlers and refugees. Anyone who expects an hour long version of a cheesy CBC Heritage Minute will be more than pleasantly surprised by the energetic and musically enhanced retelling. The performances are earnest and do a great job of conveying both the simple rewards that drove the community on and the tragedy that they left behind in their homelands. A rustic set design, use of shadow play and a continuous soundtrack played on expertly homemade instruments, all enhance the bittersweet themes that colour the piece.

*Humans Anonymous*
It’s a small blessing that Kate Hewlett isn’t off writing sitcoms for the CBC. I’m sure it would be kinder to her pocketbook if she were but we can be thankful that she is instead using her skills for the stage by crafting snappy droll dialogue delivered by quirky and empathetic 30-somethings. Humans Anonymous is a perfect example of the tightrope that Hewlett’s work walks; it is equal parts modern day comedy of errors and introspective character piece. The story, about Ellen, a successful workaholic who ends up on a blind date with another woman due to an internet mishap is bolstered by a solid array of performances and makes for a light and entertaining look at relationships in the 21st century.

*First Hand Woman*
Occasionally a piece of theatre comes along that proves to be surprisingly divisive in terms of the reaction it generates and First Hand Woman is such a piece . Some would argue (and validly so depending on one’s taste) that First Hand Woman is a lyrical, introspective and empowering experience. Others, this reviewer included, are more inclined to say that it is overwritten, generic and possesses the emotional delicacy of a belching sledgehammer.

The story, and the term is used loosely, is that of an anonymous woman recently dumped by her boyfriend, Harold. The woman’s experience is recounted, largely in direct address, by the embodiments of the five stages of grief (denial, bargaining, anger, depression, and acceptance) who collectively make up the protagonist and her inner thoughts. There are moments that work, especially when the characters debate amongst themselves but it is not nearly enough to save the script from itself. The humour is pleasant but disappointingly safe, the frequent descriptions are so florally overwrought that a Harlequin novel editor would gag and the whole thing is mired in endless new-agey symbolism and tired clichés. When given the opportunity to tell a tender story of love and hurt, one wonders why the decision was made to throw all subtlety to the wind.

Having said that, the performers’ dedication to the material is obvious, and their effort does pay off in delivering a few truly poignant moments. Nicole Leroux stands out as ‘Bargaining’ for her colourfully spastic performance and the best comedic chops of the cast.

*Don’t Look*
When tween first cousins Daniel and Ariella are caught by their families in the middle of an experimental kiss it proves to be the catalyst of far more than a passing moment of mild embarrassment. The story follows them through their lives over the period of a decade, culminating in a muted but cathartic climax. The real meat of the story is in the unexpected but believable way in which the kissing incident affects each of the characters’ emotional development and relationships. Strong performances from Daniel Sadavoy as his deadpan and perpetually reluctant namesake, and Rebecca Applebaum as the tough-hided but vulnerable Ariella support the story well. The script, written by the two performers, is rife with solid one-liners and adorable immaturity. Director Maya Rabinovitch treats the material elegantly and with a wry sense of humour, creating an intelligent, if morally ambiguous, little gem.

_For more information on all these shows and the Next Stage Festival we suggest that you go here_ “next”:http://fringetoronto.com/

By Justin Haigh