"Blending ancient scripture with her trademark incisive, contemporary wit, Erin Shields (You, Always) reclaims the stories of four women who stood at the gates of revolution—only to be sidelined by history." Crow's Theatre.
Feminism and religion can be a dangerous pairing. I thought it would be too moralistic, earnest and shrill. This was not one of my original picks for my season ubscription. A friend went, and said it was worth seeing. Tickets came my way, and I'm glad they did.
This was a World Premiere. Definitely something I appreciate about Crow's is how they help develop and feature new works. The Surrogate another example.
I didn't love this play, but I agree it was worth seeing. There were a lot of things going on, it was a bit of a mish mash. It wasn't particularly cohesive. It alluded to biblical events, not always in sequence, and made strong conjectures (the miracle of the loaves and fishes was aided by women smuggliers). There is a dance scene - Salome's 7 veils - that seems a bit gratuitous but also turns out to be one of the highlights. The play's strongpoint to me is that it does make you wonder why women are so little-mentioned in the bible itself, when of course they would have played pivotal roles in the revolution that was taking place.
I always avoid reading reviews until I've seen the play, but headlines I glimpsed were not very flattering. Perhaps that was why the theatre was only about half full, but the actors performances' were as though playing to a full house. Now to read those reviews....
Clyde's / Can Stage Bluma Appel (April)
Clyde's is a Broadway play written by two-time Pulitzer Prize-winning playwright Lynn Nottage. Premiering in 2021, this comedy-drama focuses on formerly incarcerated kitchen staff seeking redemption while working at a truck stop sandwich shop, often cited as a companion piece to her play Sweat. Cincinatti Playhouse in the Park
Loved the allegory of the quest for the perfect sandwich and the idea that prison is also a state of mind. Clyde's anger confines her and in the end becomes the catalyst that sets her workers free.
Fire and flames lit and licked the stage in the kitchen, conjuring hell and purgatory.
Fabulous ensemble cast; most gathered for a talk-back after the performance.
The Surrogate / Crow’s Nest Studio Theatre (March)
"Set over the course of a single sleepless night, The Surrogate is a 21st-century exploration of privilege, and the complexities of modern family-making in a world where the rules are still being written." Crow's Theatre.
Although themes were highly charged (ethics of surrogacy, state-side politics, nature of relationships) this didn't feel moralistic or didactic. Told the story and then left you reeling.
The Slotkin Letter review was critical of playwright Moishin Zaidi's debut for having too many threads running through it at once; however I didn't feel it overwhelmed or clouded the story so much as depicted how complex and multi-faceted life and death can be. What a fabulous first effort!
The Studio Theatre was the perfect venue. The more intimate space suited the personal themes. A nice touch in the set design was drawing the audience in with the choice of seating - hard white chairs that would easily suit a hospital waiting room. Appreciated this detail.
Although themes were highly charged (ethics of surrogacy, state-side politics, nature of relationships) this didn't feel moralistic or didactic. Told the story and then left you reeling.
The Slotkin Letter review was critical of playwright Moishin Zaidi's debut for having too many threads running through it at once; however I didn't feel it overwhelmed or clouded the story so much as depicted how complex and multi-faceted life and death can be. What a fabulous first effort!
The Studio Theatre was the perfect venue. The more intimate space suited the personal themes. A nice touch in the set design was drawing the audience in with the choice of seating - hard white chairs that would easily suit a hospital waiting room. Appreciated this detail.
Talk-back after with actors and director (Christopher Manousos) gave some insight into how the stage play was crafted and evolved.
Produced by Here for Now Theatre, Crow’s Theatre, House and Body and b current
You, Always / Berkeley Street Theatre, Can Stage (Feb)
Canadian playwright Erin Shields tackles some tough themes in this play about sisterhood: cancer, MAID, divorce, eating disorders.
The stage was stark and minimal, which allowed it to morph easily from one place into another.
The two actors were challenged to jump quickly between childhood, adulthood, and adolescence in a series of rapid vignettes, and they pulled off the transitions well, using a lilt in their voice or a shrug of the shoulders to help frame their age.
Conflict between the two sisters gave rise to arguments beginning with "You, always...." While I know conflict is the dramaturge's friend, I could have used a few more scenes featuring their love and support for one another to even the balance. My favourite scene was when they donned the costumes from childhood stories, and it was well placed in the arc because their yelling at each other was getting a bit one note.
By the end of the show, there were many people crying in the theatre but personally, I couldn't help feeling a tad manipulated.
