As I sat in my seat in the beautiful new Daniels Spectrum theatre, excitedly awaiting the first act of the revolutionary musical Falsettos, I heard a man behind me say, “it still has that new theatre smell.” That it did, not yet one year past its opening, but what I found on stage was in startling discord to the environment in which it was presented: a musical, set in the late ’70s and early ’80s, that deals with coming out, psychoanalysis, the perils of Jews playing sports, and AIDS. It is, in short, a musical quintessentially of its time, a feature to which costume designer Alex Amini pays close attention with her period dress and hairstyles. Watching Falsettos at Daniels Spectrum felt like an invitation to compare two eras, separated by only three decades but a world of difference, and to determine what is still relevant and meaningful in a show like this in a time like now. It turns out, there’s an awful lot.

Falsettos, in the form in which it is currently presented (it has undergone many changes since it originated as a one-act in 1979), tells the story of Marvin, a New Yorker who, upon coming out as gay and leaving his wife for a young lover, tries to keep his unusual Jewish family together. His young son, Jason, is frustrated by the changes around him, which multiply when his father’s former therapist falls in love with and then marries Jason’s mother. The entire show is sung through, and although the styles of music vary depending on the content of the song, all orchestrations are centred around the staples of the era, with piano and drum playing the most prominent roles. Each scene is its own vignette; each vignette has its own theme, style, and purpose in the overall non-linear plot of the show. By the end, a series of explorations of love, lust, faith, marriage, monotony, and sanity converge upon the sudden contraction of an incurable illness by Martin’s lover, Whizzer. Although it spans a broad emotional spectrum, from humorous and kitschy to sombre and philosophical, Falsettos maintains a constant sense of humour and wit which make pleasant scenes more pleasant and bleak scenes, by contrast, all the more noticeably bleaker.

Falsettos is driven by stellar performances from its entire cast, among whom Eric Morin as Whizzer and Stephen Patterson as Marvin stand out for their power and tenderness, both emotionally and musically. Also always of note is young Michael Levinson, who once again impresses with his verve. Although all cast members sing well, it is the drama and theatricality, not musicality, that make Falsettos so notable. Tim French’s brilliant choreography bridges the play and the musical by turning the entire stage at times into an extension of the subconscious and, in doing so, draws out every inch of drama and profundity in the pop-inspired score.

Stephen Patterson, Eric Morin in Falsettos (2013). Photography: Joanna Akyol

Falsettos is difficult to categorize. Its components have been featured both on and off-Broadway; its style is comedic but its content is tragic; its music and plot seem antiquated even though they are younger than much of the cast. It is a musical of contradictions and eschewed binaries, the [only] kind of show that would make itself up of a deliberately bizarre assortment of people and then show that they are all one family. Even though coming out and AIDS are no longer quite as pressing as they were at the time of the show’s creation, Falsettos can be enjoyed for so much more than the things that happen to its characters. It is ultimately a musical about people who form bonds with each other, whether they want to or not, and then discover the strengths and weaknesses of those bonds when faced with the challenges from the world, and from themselves.
Note: Students receive 20% off the ticket price. 

Falsettos

music and lyrics by William Finn

book by William Finn & James Lapine

directed by Robert McQueen music direction by Reza Jacobs
choreographed by Tim French

starring
 Darrin Baker, Sarah Gibbons, Sara-Jeanne Hosie, Michael Levinson, Eric Morin, Stephen Patterson, & Glynis Ranney

set design Patrick Du Wors lighting design Kimberly Purtell 
costume design Alex Amini sound design Adam Harendorf

stage manager Melanie Klodt apprentice stage manager Rachel Dawn Woods
production manager Sandra Henderson assistant musical director Tara Litvack

The University of Toronto Drama Festival is an annual competition of student-written and -directed plays at Hart House Theatre. This year, blogUT is pleased to provide reviews and critiques of each show for your elucidation and entertainment.

The final night of the festival featured only two shows, which were as different from each other as possible. Fortunately, both seemed to be improvements of other night’s shows: Shazam! acts like the more self-aware brother of Flapjacks, while The Gully accomplishes the interpersonal drama so many other productions worked so hard to almost achieve.

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The University of Toronto Drama Festival is an annual competition of student-written and -directed plays at Hart House Theatre. This year, blogUT is pleased to provide reviews and critiques of each show for your elucidation and entertainment.

The penultimate night’s performances departed abruptly from the trend of tragicomedy, instead offering one dedicated drama, one dedicated comedy, and only one light drama. Interestingly, all three shows dealt with the relationships between writing and life, leaving one to wonder if maybe UofT English classes aren’t a tad one-note.

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The University of Toronto Drama Festival is an annual competition of student-written and -directed plays at Hart House Theatre. This year, blogUT is pleased to provide reviews and critiques of each show for your elucidation and entertainment.

The first night featured three adequate shows, of which none were eye-rollingly terrible nor edge-sittingly good. All three plays were, interestingly, united by stories of death and tragedy, and people facing terrible circumstances in unusual ways. Stylistically, all three shows had elements of tragicomedy, though the first veered more towards drama and the last two comedy.

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“Shatnerian” is not a mainstay of the critical dramatic lexicon, but it appears exactly four times in the notes I took while watching SMCSU’s student production of Stephen Sondheim’s  Sweeney Todd: The Demon Barber of Fleet Street. It was the robotic gestures and melodramatic, segmented speech patterns of the leading man and some of the chorus that spurred those comments, but next to them in my notepad are “amazing voice”, “spooky”, and “hilarious”.

To those unfamiliar with Sondheim’s masterpiece, the combination of spooky and hilarious may be alarming; to everyone else it’s ideal. Told mostly through song straight out of the horror movie canon, Sweeney Todd follows a wrongfully-convicted barber through his return to London, his relationship with an amoral pie-maker, and his eventual pledge to seek revenge on a corrupt judge and anyone else who might get in his way. This show is driven by the crisp, haunting, voice of star Peter Mackechnie (Hairspray, Rocky Horror Picture Show) and the impeccable comedic timing of Victoria McEwan (Hairspray), who handle the show’s demanding rhythm and dense plot with apparent ease.

In such a tightly-wound piece, however, even the slightest imperfection pops out: a chorus that never starts or stops singing at the same time, a gunshot that’s played seconds before the trigger is pulled, a leading lady with a beautiful singing voice and hilarious delivery but rarely both at once. Missed cues and forgotten lines hit the ear harder than any correct note or clever pun.

But it is precisely because I am able to nit-pick so many foibles and slip-ups that the Sweeney Todd’s consummate excellence is clear. There were no terrible performers; no glaring accommodations in plot or score. Except possibly for director Michael Wisniowski’s decision to replace sudden, intense murders with scenes of ambling symbolism, the show pulled every heart string and pushed every laugh. In all cases, the good outweighed the bad, the humour surpassed the foibles, and the delivery, both musical and dramatic, made SMCSU’s production of Sweeney Todd an evening of enjoyable theatre.

Sweeney Todd runs at Hart House Theatre for five performances:

Friday November 30th, 8:00PM
Saturday December 1st, 8:00PM
Friday December 7th, 8:00PM
Saturday December 8th, 2:00PM & 8:00PM

Audiences are warned of mature content and violence.

Three years ago, I saw a show at Toronto Fringe about an Irish rebel who felt the need to strip off his clothing mid-monologue. Two years ago, I saw a Fringe show about a dystopian future in which political differences were settled by playing guitar loudly. Last year, I saw seven Fringe shows, about subjects as varied as the actress Judy Holliday and video game-themed sexual assault (those were two different shows).

One might think that – despite my continued revisitation – based on the above shows’ descriptions, if not for their veracity than for my willingness to write about them, that I am not a fan of the large annual independent theatre festival that rolls through Toronto each July appropriately called “Fringe”. One might then be demonstrably wrong on this account, as this year marks not only my fourth attending Fringe plays but also my first volunteering with the festival. I’ve gotten the e-mails and everything.

My love for the Fringe Festival is difficult to express without copious amounts of sarcasm, though it is by no means ironic or insincere. With the exception of one excellent series of productions of Waiting for Godot last year, I have yet to see a truly strong Fringe play. By this very subjective judgement I mean I have yet to see the production of a play at Fringe that was not theatrically wanting, usually in multiple areas of dramatic technique. Even within the admittedly limited confines of budgets and day jobs, Fringe shows often fail to impress by their own artistic merit. So why do I love them?

It is almost a cliché that one of the many purposes of art in a society is its ability to hold up a mirror and allow people to reflect upon themselves. To extend this metaphor, these mirrors are crafted by the artists; in cooperative forms such as theatre each artist forms a single shard that, when held together with other shards, offers up crystal clear reflections of and to the audience. It is the artistry that makes the shard clear and accurate, and it is the artistic greatness of professional companies like Soulpepper and Factory Theatre that make their mirrors shine.

At Fringe, you’re hard-pressed to find something that reflects any light at all.* The shows are written, produced, and performed mostly by amateurs, who haven’t for whatever reason the skill or ability to make a decent mirror. Theirs are usually blocks of dull yellowed glass held together by sheer force of will and the minor incentive of ticket sales. What makes them so remarkable, though, is that the attempts at mirrors are themselves cultural barometers of Toronto, or at least some of its communities. The fact that our city can support, through a recession and beyond, an unjuried, volunteer-centred, uncensored, amateur theatre festival is itself remarkable. Through all of the political hoopla at City Hall, a rotten economy, and a population that overall prefers webisodes to live theatre, the Fringe Festival has thrived and continues to grow. By nature of its very existence it tells us about ourselves. Furthermore, as a participatory art form, live theatre goes beyond “the medium is the message” into something like “the medium and the audience are each other’s messages and listeners”.

As a fan of art, which is really just an extension of its societal function, the appeal of Fringe is obvious. I intend to see more shows this year even than last, and I doubt any will be very good. But as I take my seat in the theatre/church/parking garage/moving van, I know it’ll be at the very least worthwhile.
*Some shows that publicly debuted at Toronto Fringe have gone on to bigger things, such as The Drowsy Chaperone, My Mother’s Lesbian Jewish-Wiccan Wedding, and Kim’s Convenience. I offer this: it’s only statistically probable that within 150 annual plays one or two might be worth producing again.

There’s an episode of the Simpsons in which Bart realizes that he has only one day left until school starts in the fall and he’s accomplished nothing he’d intended to do over the summer. So, true to cartoon form, Bart finishes off his checklist of summer activities – including his first romance – in under 24 hours and when school starts the next day he feels he’s had a complete vacation.

That’s kind of like how I feel with summer classes looming so soon after spring exams end. Sure, there are differences between me and Bart Simpson – one of us is cartoon, the other is not; one had one day, the other has a few weeks; only one of us is able to get a date – but the pressure to make the best of my time in these glorious sunny days in the prime of my youth does not go unnoticed. That’s why, in the two or so weeks until UofT’s scaly academic claw drags me back into the depths of cram session hell (as you can tell, I study writing and rhetoric) I’ve decided to do as much as I can to truly make the best of summer 2012. To aid me in my noble task, I have prepared a list of the summer attractions for the summer school student.

Summer 2012, Toronto: Abridged Edition

May 1: May Day
Toronto’s fair-weather revolution picks up in full swing on May 1 as activists – from a wide array of backgrounds but with the common goal of stickin’ it to the Man – will take to the streets to protest the government/the 1% in a rally at City Hall followed by a march to an undisclosed location. Employees of all jobs are encouraged to take a sick day to really show the system who’s boss and attend, if they can, the Occupy Toronto potluck at Queen’s Park. Even students who are not entirely convinced of the movement’s goals and ideologies may be interested in popping by with a camera for some interesting snapshots and the chance to document what may become an event of historical significance.

May 1 – 2: Toronto Blue Jays play the Texas Rangers
An obscene amount of research went into this blurb, including a search for the definitions of “baseball”, “inning”, and “Ricky Romero”. Someone with my lack of knowledge on the subject can’t truthfully say either way if the Jays’ games against the Rangers will be exciting or notable, but the Torontonian in me still roots for the home team.

May 1 – 8: The Tennessee Williams Project
Beginning and ending right in the middle of our mini-vacation, The Tennessee Williams project will feature nine theatre companies producing seven of Williams’ lesser-known one-act plays over the course of seven nights, each in a different neighbourhood. The Project seeks to unite Toronto over the mutual admiration and respect for the works of this giant of American theatre and will, at the very least, provide us with some exceptional local theatre and the chance to see some rarely-performed pieces.

May 4: Star Wars Day (“May the 4th Be with You”)
Nerds of the city awaken from their anime-fuelled slumbers and join together on May 4 to celebrate George Lucas’ ground-breaking sci-fi classic and its subsequent sequels, prequels, comic books, novels, TV shows, and general media empire. The epicentre is the Toronto Underground Cinema, which will host a trivia challenge, costume contest, fan films, and celebrity guests. Tickets are pre-sold, so make sure to grab some quick.

May 5: Free Comic Book Day / TCAF
Two fairly different cultural groups unite over one marginalized medium on May 5 as local comic book stores hand out free comic books, courtesy of corporate sponsors, while the Toronto Reference Library hosts a wide array of indie comic writers and artists to peddle their hip, and often depressing, wares. To draw in the crowds Silver Snail Comics will be handing out original, unique posters and bringing in artist Phil Noto for an appearance and signing - but if you’re really into being starstruck I’d recommend heading to TCAF instead to bask in the genius emanating from graphic novelist Alison Bechdel.
TCAF runs until Sunday but many headlining exhibitors and special guests, including Bechdel, will only drop by for the Saturday.

May 5 – 6: Jane’s Walk
As if choosing between TCAF and FCBD weren’t hard enough, those with prior obligations on Sunday must also choose between a day in comic book stores and libraries or an educational walk in the city. Jane’s Walks are public walking tours led by knowledgeable members of the community that provide attendees with knowledge of the neighbourhood while they promenade through. They’re often specialized to individual topics and offer in-depth knowledge on local culture, architecture, and history, and they’re well worth checking out.

April 26 – May 6: Hot Docs Film Festival
A Toronto tradition on par with not caring about Toronto or traditions, the Hot Docs film festival highlights the work of documentarians from around the world in a series of screenings at venues across the city. As Ally’s stirring review of The World Before Her shows, good documentaries have the power to touch us emotionally while also opening our eyes and educating us on matters we’d never even considered. Hot Docs brings in the best of the best of documentaries and provides us with a rich cultural and intellectual experience for a very modest fee. I strongly recommend seeing at least one Hot Doc before the festival closes on May 6.

Picasso at the Art Gallery of Ontario
One of the amazing benefits of living or studying in a city as cosmopolitan as Toronto is access not only to local art but to international pieces as well. Throughout the month of May, the Art Gallery of Ontario will be showcasing some of the greatest works of one of the greatest artists of the past hundred years, and admission is only $11 for students. If you have even a fleeting interest in art Picasso’s is some of the first work you should be checking out; at the very least drop by the exhibit so you have something to tell your parents when they ask about your summer plans.

May 13 – Mother’s Day
This is as much a reminder to me as it is to you. Though the students in us may protest the incorporation and commercialization of maternal attachment as a means of exploitation of the masses, there’s still no excuse in forgetting to at least call. Many local restaurants and shops will also have mother’s day sales, so even if you’re not into all this – or you don’t have a mother – you can still indulge yourself.

As the past eight months of blogs have shown, school is by no means a social death sentence. We can always find time to go to the theatre or a sports game if we manage, and we can always manage if we need to. UofT students are resourceful and, contrary to our memes page, capable of good grades and recreational activities. Despite all this, the liberty of knowing you have no assignments due and no essays to study for and no novels to read and no lab reports to write is a wonderful feeling to a weary student, even if it is at the cost of the pressure to enjoy one’s self. I’d gladly take it over school-work any day, or at least until May 14.