The Kick & Push Festival continues this weekend, offering accessible live performances for the whole family in City Park.
Kick & Push Continues to Play in City Park
Kingston ON
Getting Caught Up: Summer Theatre in the Kingston area is underway!
So much going on!!!
The Thousand Islands Playhouse has launched their 2021 Season, with “Sexy Laundry”. They will be running one show at a time, now through November, in the Firehall Theatre. They have a wonderful outdoor lobby with table service in place, ensuring that the experience of catching a show in Gananoque continues to be enjoyable in every way. My Whig-Standard Review can be found here.
The 2021 edition of The Kick & Push Festival has begun as well, with “Roll Models” being their first offering City Park. It’s a fun evening, offering an opportunity for “audience players” to get right in on the action…The Whig review for this show can be found online, as well.
And finally, City of Wine: Kingston mounted a production of the final play of Ned Dickens’ epic cycle, “SEVEN”, over the course of a week earlier this month. Although this production has closed for now, ambitious plans are afoot for future productions of all the City of Wine is plays. Kingston Theatre Alliance carried my review for “SEVEN”.
It’s so exciting to be back in the swing of things! Watch for upcoming reviews as theatres continue to open up in the region…
2021 Storefront Fringe Festival – In Person or Online
Anyone who has followed this blog must be aware that even under typical circumstances, the Storefront Fringe Festival always excites me, and gets me in the writing groove…This year, of course, it’s even more inspiring, as we gradually open up and figure out how to reintegrate theatre and the performing arts back into our lives…
This year’s Festival offers a variety of mediums in various formats that cater to any and all levels of comfort audience members may have…Also, this is the first year that the local newspaper, the Kingston Whig Standard, has provided review coverage for the Festival shows! The reviews ran as smaller capsule entries in two parts – one featuring the virtual offerings, and another the live productions…
The downside of traditional media coverage is that I had to limit content to this short-term format, BUT that is the advantage of this blog! If you have questions or differing opinions, please share them here, and let’s have a conversation…
(Also the Kingston Theatre Alliance is featuring full reviews from their contributors!)
“Kitchen Chicken” Is Delightfully Delicious
“Kitchen Chicken” (photo shamelessly pilfered from the Kick & Push site)
“What just happened?”, you may find yourself asking as you leave the Grand’s traditional main stage auditorium…It turns out that “Kitchen Chicken” is a dinner party the likes of which you’ve never seen – and it is a fabulously outrageous and entertaining one, at that!
In all honesty, despite the kinetic mayhem and sensory overload, you likely won’t have any doubt what has transpired at all. There’s lots going on, and it can be a little hard to keep up and take it all in, but there’s a solid narrative woven throughout and the L’Orchestre d’Hommes-Orchestres ensemble (Bruno Bouchard, Gabrielle Bouthillier, Jasmin Cloutier, Simon Elmaleh, Danya Ortmann, and Philippe Lessard-Drolet) takes us back to a time and place where the kitchen was the place to be, and meal prep was a family affair. Sure, supper is made – and enjoyed by everyone! – but there’s so much more to be savoured here than today’s microwave and tablet dining experience.
Although there’s no dialogue per say, the communication between the performers is crystal clear, and given all that is going on at any one time, their timing and cooperation is simply incredible. The enthusiasm and laughter is contagious. The music keeps the pace and energy up for the cast as well as the audience. My only complaint would be the mixing of sound, as the vocals and lyrics to several of the songs were often lost – and given the precision in choice and placement of every other element of the show, I do feel like the story told would have had even more clarity and punch with the benefit of those words.
I have never seen anything like “Kitchen Chicken”, and that certainly adds to the appeal and amusement of this one-of-a-kind experience that is not to be missed!
(I may go back for seconds 😉 …)
“Kitchen Chicken” continues its run as part of The Kick & Push Festival until Saturday, August 10th…
“Horseface” Delivers The Kick That It Promises
In “Horseface”, Alex Dallas unapologetically knows exactly who she is, what she has to say, and how she is going to say it. As she disclosed to me afterwards, once she had started, she “could not NOT write this…”
It certainly wouldn’t be considered a balanced world view – but how could it be? We are well beyond that. The balance has been, for far too long, out of check in favour of the wolves, and as Dallas shares in her stories that will be far too familiar to far too many people, it certainly still is. That is why we are here, and why this show is both so powerful and so necessary.
The performance of the material, however, is incredibly well balanced. The gravity is offset with levity. Pain is offset with dancing and laughter. The darkness is offset with Dallas’ light. When all is said and done, the piece is comfortable enough to initiate a conversation, but uncomfortable enough to sustain an honest and meaningful discussion that continues long after the lights fade – as it needs to.
As timely and topical as Horseface is in its content, it would be a mistake for anyone to suggest that its success is a function of its connection to the ‘popularity’ of the #MeToo movement. It is with confident patience and great skill that Dallas reads, understands, and engages an audience that can vary so wildly from one to the next. She is a masterful storyteller and her timing is impeccable, whether she is delivering a punchline or a punch to the gut. Dallas is strong, yet she is sincere and she is vulnerable. She is real.
“Horseface” will undoubtedly affect everyone who sees it quite differently, based on their personal experience and perspective coming in – but there is also no doubt that everyone will be affected as they walk out. That is the hallmark of great theatre.
“Horseface” finishes its run in Venue #2 of the Storefront Fringe Festival this evening at 7:30…
There’s A LOT Going On “In Ireland…”
Nathan Coppens & Lauren Allen in “In Ireland We Rented A Car From Criminals” (submitted photo)
Much like the play’s title, “In Ireland We Rented A Car From Criminals” attempts to fit an awful lot into relatively little time and space – and it’s mostly worth the effort…
There are two stories intertwined here, one being a fun and versatile vehicle (pun fully intended) enhancing the accessibility and pathos of the other. The first is a contemporary comedy, centred on a couple’s trip in Ireland, with each on their own particular quest while there. The second slyly uses the first to delve into some of the country’s dark history, as well as its relevance to us today – especially as playwright Rod MacPherson neatly ties it all up in the end.
Nathan Coppens carries much of the load, flipping between one character and another – each distinct and memorable. His strong physicality serves him well throughout, and adds significantly to the comedic surface of the piece. Lauren Allen has a strong presence as well, but presents in a quieter and much more controlled manner, perfectly suiting her primary character while also serving to ground the overall production. There are a number of interactions between the two as a married couple that make it clear that they share a special chemistry that is essential to pulling off such a whimsical stage partnership. While much of the action is frantic, they each do have some very subtle, touching buttons where they could afford to take an extra beat or two, and allow the audience to settle in, share, and appreciate the moment.
The production is harried from the outset, and director Andrew Johnston’s use of the stage and placement of props and costumes initially felt messy, with set pieces apparently pulled from corners of this church venue, all contributing to a distracting level of discord. This, however, bothered me less and less as the show progressed, and as Coppens and Allen owned the space, finding and replacing each piece with an ease only available through muscle memory and confidence. The energy in this high-octane romp started to flag as they rounded the bend on the home stretch (particularly noticeable in the surprisingly anti-climactic realization of Tom’s “quest”) – but Coppens left enough in the tank to deliver a closing that was not only satisfying but impactful for an appreciative audience.
“In Ireland We Rented A Car From Criminals” is a quirky little show, well-suited to the character and pace of the Fringe. It is a production that entertains while offering many laughs, a few touching surprises, and a dose of reality, too.
“In Ireland We Rented A Car From Criminals” continues its run in Venue #3 of the Storefront Fringe Festival…
Additional “…Support” Required
Brian Abrams and Helen Bretzke in “Life Support” (photo provided by Director Tim Fort)
“Life Support” is a complex play, offering complex points of view on a complex topic. It’s hard work, and the audience could benefit from a bit more help.
Martha Bailey has written a play tackling the technicalities and intricacies of what it means to be alive, or possibly more to the point, what it means to be dead. Definitely dead. Ambitious, and wracked with logical, emotional, and faith-based perspectives and arguments, the play is as challenging as the dilemma it presents, as a judge presides over a case to determine whether or not an unnamed character, with an oft-invoked family (including a young child), should be removed from life support.
I had the benefit of attending a “talk back” afterwards, during which director Tim Fort alluded to the premise of the Judge, played by Brian Abrams, being visited by apparitions akin to “A Christmas Carol”. In hindsight, it was most helpful in wrapping my head around what had just transpired. I clearly recognized in the moment that the judges interactions with the multiple characters played by each Len Whalen and Helen Bretzke was not naturalistic, but I honestly never felt like I had any firm grasp on what was happening. Although something more subtle than Marley’s visit to Scrooge stating what was to come would certainly suffice, it would be beneficial to the audience to have some means of establishing the convention at the outset and clarifying the rules of engagement for what was to come.
If not delivered through some means of exposition, then the onus of communicating such a premise falls on the actors. As the Judge, Abrams’ stoic and unemotional delivery makes sense in regards to the character and the plot. However, a performer’s job is often to lend understanding, credibility and legitimacy to the work of fellow cast, not just one’s own, and his interactions with his counterparts never offered any such insight. Bretzke’s performance was a highlight, offering distinct characters with distinct delivery even if, as the representative of the logical, much of her material was repetitive (if not redundant) – essentially the same argument delivered by different representatives. The softer sides of the argument, presented by the characters played by Whalen, offered greater breadth and variety, but his presentation thereof was less intriguing. The most engaging of his characters, the Rabbi, was probably the most multi-dimensional in the play – but was regrettably very difficult to hear and fully understand much of the time.
Given Colour & Light’s mandate to perform new theatre works that are offbeat and on point, I believe that “Life Support” is the right work at the right time, in the right venue. However, if there is any means to better position the audience to understand and navigate what is about to unfold, it would likely be a more beneficial and insightful experience for all.
“Life Support” continues its run in Venue 1 of the Storefront Fringe Festival...
“Dreaming Pink” Through The Eyes Of A Child
“Dreaming Pink” is a fun and touching piece of theatre that tickles the funny bone at the same time as it warms the heart. It is a well-crafted story, scripted by Bryce Fletch, of familial strife, love, and support through the eyes and imagination of a child…
As the precocious young Linzi, Maddy Kerr clearly has a lot of fun dealing with the trials and tribulations of daily life through her space travels, pirate adventures, and epic battles. Her comedic timing draws lots of laughs, and her emotional range is impressive for her age. Unfortunately, several of her lines are lost, and as the excitement of opening night melts away, I hope that Kerr is able to slow down her line delivery and focus on her diction – without losing any of her dynamic energy. As Linzi’s father Andy, I have to commend Tyler Anderson on his commitment to the role, and immersion in the many conflicted emotions he must navigate over the course of the play. As fully engaged as he is, though, there is a credibility that is lacking in his role of dad. It may simply be a function of age and/or life experience, but it is a hurdle that must be overcome. That said, there is a real, tangible and loveable bond between Anderson and Kerr (think older, protective sibling?), evident from the outset, that works and makes the plight and stakes of the family turmoil accessible and believable for the audience nonetheless. The ensemble of Daniela Rojas, Jeremy Gardiner and Will Tracy does a fantastic job in their role of fleshing out Linz’s imagination, supporting their leads and the story, without ever drawing focus.
While many of the scene transitions and some of director Kemi King’s staging seem haphazard, she and her production team have successfully brought together an overall look and feel that effectively evokes both the stark reality of Linz’s life and the rich immensity of her imaginary world, especially through creative movement (choreographed by Holly Lorenzo) that underscores and emphasizes the size and scope of Linzi’s beautiful imagination.
I’m not sure what family fare this year’s Storefront Fringe Festival has to offer, but “Dreaming Pink” is certainly a treat worth catching, whether you have children in tow or not.
“Dreaming Pink” continues its run in Venue 3 of the Storefront Fringe Festival…
“Stupidhead!” is a Smart Little Show!
“Stupidhead!” featuring Katherine Cullen (Image shamelessly stolen from The Kick and Push Festival site)
I was invited to join a friend to see “Stupidhead!”on relatively short notice, and it represented one of those rare experiences to walk into a show having no idea what it was about, or what to expect…
What an exciting way to start off my 2019 Kick & Push experience. And what a treat it was!
Billed as a comedic musical about dyslexia, and the embarrassment that is being a human, it certainly delivers as such – and a little bit more. Regardless of your familiarity and engagement with dyslexia specifically, this clever script, developed and performed by Katherine Cullen with music and accompaniment by Britta Johnson, has a relevance and accessibility to be appreciated by all. Quite witty and cheeky, but also honest and poignant, the fully engaged audience spent much of the hour in stitches, save a few touching moments when you could hear a pin drop.
I was impressed by the economy of the overall production, especially given its light-hearted approach to such personal subject matter. It is a tidy little show, succinctly packaged and neatly revealed, and it knows exactly what it is and what fits. As must be the case for these Festival shows, the production values are simple but effective, and in this case, subtly add to the overall experience of the play. Kudos to director Aaron Willis for keeping such a creative and impulsive production within the invisible but necessary parameters that delivered a perfectly satisfying arc for the audience to follow, yet still leaving room for Cullen and Johnson to have some fun while expressing some very real and personal emotion. The writing is remarkably tight as well, and confidently walks that fine line of self-deprecating humour and storytelling that allows the audience to laugh along “with”, but never “at” Cullen, her challenges, or her pain. There is far greater dramaturgy credit given for the piece (Willis, along with Andy McKim and Jivesh Parasram) than one usually sees or might expect for a shorter work such as this, and I recognize that this was likely a significant factor in their ability to settle on a piece that is so damn comfortable in its own skin. Frankly, it is all incredibly brave, and I can only imagine how gratifying the payoff must be for Cullen to have an audience so obviously on her side throughout, given the isolation that we all typically feel when dogged by our perceived shortcomings and inadequacies (whatever they may be). It is with an uncommon and noteworthy combination of sincerity and skill that Katherine brings us along on her journey, with the loving support of her friend Britta – which is by no means over yet…
The show is a charming piece of poetry, beautifully delivered…Suck on THAT, Peter Dyakowski!
More Information:
Dusting this thing off…
Another summer of The Kick And Push and Storefront Fringe Festivals is now underway, and I gotta say that the buzz around this year’s programming is contagious – so much so that here I am back again, with a reinvigorated drive to spark conversation and provide a platform for its continuation beyond the storefront or the local pub…
My agenda remains the same as it was when I first started this little experiment a few years back…I will certainly share my thoughts and feedback on the shows that I get to see, from my perspective, but this is intended to be a dialogue and a means to share experiences and perspectives…PLEASE share your thoughts openly, honestly, and respectfully – and let’s make the most of this incredible opportunity to enjoy and learn from the craft that so many artists are generously sharing with us…
I encourage you to get out and see as many different shows as you can, and drop back by here and share your stories…I look forward to sharing mine as we go…
HAPPY FRINGING, FRIENDS!
Kingston Theatre Reviews 