Review: (Vancouver) Two Pianos, Four Hands

Greenblatt (l), Dykstra

Classical recital meets comedic genius

Two talented pianists have some very funny stories to tell
by Chris Lane

2 Pianos 4 Hands is a hilarious comedy, and like a musical, except with only piano playing instead of singing. More simply, it’s a Canadian classic that’s well worth seeing.

It tells the semi-autobiographical story of two boys growing up with their pianos. The plot follows them from piano lessons, to competitions at Kiwanis festivals, to Royal Conservatory exams, to figuring out if they’ll ever make it as professional classical pianists.

Review: (Toronto) The Whipping Man

Thomas Olajide, Sterling Jarvis and Brett Donahue (photo credit: Keith Barker)

Spinning Slavery

HGJT and Obsidian tackle little known history

by Gregory Bunker

Written by Matthew Lopez and first produced in 2006, The Whipping Man is an excellent production that puts a deeply ironic spin on slavery in America. The play is co-produced by the Harold Green Jewish Theatre Company and Obsidian Theatre, and draws special attention to the paradox of Jewish slave-owning in America. It explores the notion that a religion with the history and pride of escaping slavery could be kosher with imposing such chains on others. And it is the gobsmacking awkwardness of reconciling this irony in the newly emancipated South that makes for great theatre at the Toronto Centre for the Arts. 

Multi-Media, March 22, 2013

Ignoring Schnitzler

360 veers from its source

by Gaëtan L. Charlebois

As I was watching 360 I tried to imagine the meeting of the minds which gave birth to the film.

WRITER

How about a modern day adaptation of Arthur Schnitzler's La Ronde?

PRODUCER (A friend of the writer but still his tone of voice deeply noncommittal)

Hm.

WRITER

A classic of world theatre! Commentary on sexual mores that still resonate! How all our fates are intertwined- 

PRODUCER

- like Crash?- 

A Fly On The Wall, March 22, 2013

Cast of Characters
by Jim Murchison 
@JimMurchison

I’ve always preferred ensemble theatre, where there is a true sharing of the workload and every one relies on each other. At our workshops for Taming of The Shrew, there was a lot of discussion about various forms of theatre, with the big focus on commedia d’ell arte. Although exaggeration is a key component of the form it won’t work unless you tap into something that is also truthful and real that an audience can relate to.  

For myself, playing four characters, the need to draw on a distinct reference for each one is important. I want the audience to understand immediately who I am. The most elderly character is Gremio and Shakespeare has helped us there. He refers to him as the old grey beard and the old pantalone. The last time I grew a beard it was predominantly brown with hints of red. It is now mainly grey and white, so that part is easy. Now all I have to worry about is playing him.

CharPo's Real Theatre! March 22, 2013

Review: (Montreal) Hypno

Marie-Hélène Gosselin, Martin Tremblay Photo: Marie-Andrée Lemire

Things Hypnosis Won’t Let You Forget.
by Nanette Soucy

In the tiny, low-ceilinged and intimate venue of Théâtre Prospéro, Tsunami Théâtre brings us Hypno, a kind of Ouroborean slapstick farce about a stage hypnotist, his oblivious wife, an obsessed fan seeking help for his gelid wife’s self image problem, and the wacky ways in which the couples intersect.  This compact new work by Simon Boudreau clocks in at a brief but narratively complicated hour without intermission. Lines are quick, snappy, and rhythmic, delivered with a stock comedic cadence that verges on corny, but without eliciting a whole lot of groaning.

Smashed, March 21, 2013

Musical Chairs
Smash seems to be going round and round in circles

by Stuart Munro

@StuartMunroTO

Hello friends! I tell you. With the week I’m having, I couldn’t wait to sit down with a glass of whisky (for those who don’t like Canadian Whisky, I suggest giving the Forty Creek Premium Barrel Select a chance) and my favourite worst show about musical theatre, Smash!

This week opens with a rehearsal for Hit List, featuring the ever-dashing Jimmy, and Karen’s roommate, Ana (who has a great voice, but does the weirdest thing with her jaw when she sings). The AD of the theatre wants to put the show in their 80-seat “underground” venue, but both Jimmy and Derek think that’s a terrible idea. So the pressure is on to give the show a little more finesse by the end of the next day. Because it’s just that easy! Karen swings by to push them in the right direction, and Jimmy tries to guilt her into being a part of the production (and consequently leaving Bombshell), but she walks out, pausing just long enough to give them their theme . . . apparently she’s just that good. The boys figure out a new opening number to pitch to the team which sells the show to the mainstage. I like the tune, but I wish they wouldn’t over-produce Jeremy Jordan’s voice so much. The boy is talented; he doesn’t need it.