Fans of the Greek tragedy genre have a treat on their hands at this year's SummerWorks Festival: duelling adaptations of the Orpheus and Eurydice myth, one titled Eurydice by Sarah Ruhl, the other simply titled One. The good news for those who aren't fans of Greek tragedy is that both productions are modern, lively, and offer new twists on familiar dramatic material.
Hannah Moscovitch has been dubbed the "It Girl" (ahem, “It Woman”) of the next generation of playwrights since she burst onto the scene with her memorable one-acters Essay and The Russian Play. That reputation was cemented when her full length work, East of Berlin, captured the imagination of the Toronto theatre scene, packing in audiences over the course of a regular run, an extension, and a remount. Her latest offering, Little One (on as part of this year's SummerWorks Festival), simply proves that she is no flash in the pan, nor has she peaked early.
Little One follows...
Michelle Monteith in Little One; photo by Natasha Mytnowych
Writer/Director Chris Stanton returns to SummerWorks with Elora Gorge a quiet, insightful piece about a small town captivated by a corpse discovered in the local woods. The fact that the dead man is naked and died by drowning despite being miles away from any body of water only adds to the intrigue. If this set up sounds familiar, it's because it's the basis for a popular urban legend that was also incorporated into Mordichai Richler's Barney's Version.
Stanton wisely avoids following through with the urban legend's reveal, instead using the enigmatic deceased as more of a poetic image...
Carlos Gozalez-Vio, Carlos Diaz, Dov Mickelson in Elora Gorge; photo: Aviva Armour-Ostroff
An early highlight of the Summerworks Festival, Mr. Marmalde is a dark and twisted comedy from playwright Noah Haidle is brought to life in a delightful and imaginative production by director Mitchell Cushman and a vibrant cast featuring the always reliable David Storch.
Amy Keating in Mr Marmalde, photo credit: Simon Bloom
In her piece La Chambre Blanche, first choreographed in 1992, Ginette Laurin - choreographer of Montréal's O Vertigo dance company - doesn't merely choreograph a piece about madness and other related experiences, she evokes it, indeed almost invites the audience to join in the frenzy going on in the richly staged white room.
Ballet BC and Turning Point Ensemble earn five stars for their imaginative and courageous decision to bring two new music compositions and four new ballets to the stage to celebrate the 25th anniversary of Ballet BC. The new works filled the large stage at the Queen Elizabeth with authority and a sureness of skill that was commendable.
What a perfect venue for a period piece. The auditorium of the Stanley Industrial Alliance Stage itself is already so atmospheric, it complimented the set beautifully. Before the lights had even dimmed I was well primed to be transported back to a time of manners coated in wicked wit and of scandals rationalized away with philosophy.
