Rachel Anne Scott

“Sassy Sonnets: A Bard and Its Baggage” review

Rachel — Thu, 18 Feb 2010 20:58:50 +0000

by Melissa Walter, Plank Magazine
February 13th, 2010

Sassy Sonnets is on stage courtesy of the newly formed International Storytelling Company (ISC) at the Havana Theatre.

For those not in the know, the Havana Theatre sits behind a restaurant on Commercial Drive and ISC provides a quick bite of theatre sauced with some of the most beautiful love poetry in English. By turns goofy, witty, and moving, the show uses the language of Shakespeare’s sonnets and a precise, energetic physicality to portray the vagaries of a marriage and a hot love affair. Never prissy or reverential, it is true to the mix of boldness and polish of the sonnets themselves—and it also makes something new and contemporary out of these words. The actors (Alex Goldie, Andrew Ferguson, Jaime Chrest, Rachel Scott, and Marcell Reintemeister) shake, pop, sizzle, and persuade. The show continues through Sunday and plays at 9 p.m. for just under an hour, so dinner + Sassy Sonnets would make a quirky amuse-bouche of a Valentine’s date.

The characters are designated by costume details (a tie, a hairband) that are exchanged among the actors. This device (familiar from cabaret theatre, melodrama —“I’ll pay the rent”— and one-person shows) allows five actors to play the three main characters (or aspects of their psyches) at different times and makes for a more allusive and non-linear experience. Personally, I didn’t exactly follow the narrative, but this didn’t mar my experience of the show, as each scene elaborated the themes of love, angst, desire, and corporeal vitality and fragility in various and engaging ways.

Particularly hilarious are two juxtaposed vignettes. In one, the sonnet that begins “when forty winters shall besiege thy brow, and dig deep trenches in thy beauty’s field,” becomes a beauty consultation between two women that ends with the purchase of some face cream, while in the other, an earnest therapist (a deadpan Alex Goldie) keeps summarizing the sonnet (“Weary with toil”) spoken in bits by his patient, “shrinking” the language into deflationary summaries. The therapist concludes by asking, “Mr. Spear, who are you thinking about?” — a question that scholars and students have pondered for centuries, and that the sonnets court. (Making narratives out of the sonnets is another perennial activity.) In another scene, “sin of self love” becomes a gleeful Facebook interaction, with four of the actors embodying the internet.

But then sonnet 135, which on the face of it is a back-handed and bawdy parody of a seduction argument, is repurposed as a struggle for self acceptance in which the speaker asks if his desires are all right: “shall will in others seem right gracious/and in my will no fair acceptance shine?” And when the disenchanted husband speaks “My mistress’s eyes are nothing like the sun” directly to the misprized lady, with lots of pauses, we feel her loss and pain.

When the opening procreation sonnet was spoken by a woman (the exuberant and precise Rachel Scott), I was worried that the performance was going to limit the sonnets to a heterosexual narrative. But I needn’t have worried: among other choices that bring out the homoerotic desire represented in Shakespeare’s sonnets in fresh ways, the kissing pilgrims sonnet from Romeo and Juliet is shared out between two men (as is, more conventionally, “Shall I compare thee to a summer’s day?”). The kissing sonnet is later repeated in the mind of the wife, spoken by a gleefully demonic Jaime Chrest and another actor. And in “Shall I compare thee,” the “this” of “so long lives this, and this gives life to thee” is a kiss—a nice rereading of the last line of this famous sonnet that honours the sonnets’ concern with the preservation of the lover’s physical, erotic self.

Lively, accessible, fresh theatre. Go see it.

The Physicists: Intriguing, but more theoretical than entertaining

Rachel — Tue, 17 Nov 2009 02:31:49 +0000

Genus Theatre’s production of The Physicists is a satirical intrigue set in the common room of an opulent insane asylum called La Cerisiers. The three patients are all physicists that have been brought together under the care of Dr. Matilde von Zahnd (Kelly Sheridan), a famous psychiatrist with her own dubious mental history. The patients are Johann Wilhelm Mobius (Frano Marsic), a brilliant physicist who claims to have visions of King Solomon, Herbert Goerg Beutler (Jordan Bodiguel), who believes that he is Isaac Newton, and Ernst Heinrich Ernesti (Simon Driver), who claims to be Albert Einstein. The play opens with the murder of one of the nurses and it is soon revealed that this is the second “accident” to have occurred in the last three months. Although the murders are quickly attributed to the patients, this is only the tip of the mystery iceberg at La Cerisiers. As layers of deception are stripped away, no one is what they seem.

Playwright Friedrich Durrenmatt is a proponent of epic theatre, which asks the audience to engage in the theoretical arguments of the play. In “The Physicists,” Durrenmatt explores the responsibility that scientists play in a post World War II world, where technology has the capacity to destroy civilization on a massive scale. Although these are great issues to explore, Durrenmatt’s text has a tendency to get long-winded and didactic. The inherent entertainment value of meeting characters who think they are Newton and Einstein – though rich at first – wears thin after the first act.

Director Nicole DesLauriers smartly creates a fun film noir tone that lightens the pedantry of the play. From the moment the audience arrives, we are treated like visitors at the asylum. James Coomber’s musical design and some delightfully melodramatic acting by James Mott, (Detective Richard Voss), Victoria Lions (Nurse Marta Ball), and Simon Driver (Ernesti) also help keep things lively.

However, despite these good efforts, the production becomes slow and bogged down – particularly in the second act. With few exceptions, the acting isn’t energetic and outrageous enough to counteract the heaviness of the text. The actors need to rise to the occasion and match the play’s calling for theatrical absurdity. Instead, they seem to decline into realism. Marsic, Bodiguel and Uriah Field (Mrs. Rose) in particular seem to settle into rather cinematic acting. While the groundwork is obviously there, their performances don’t have quite enough lift off to keep the play afloat.

Although a solid effort from Genus Theatre, The Physicists could benefit from the classic note: “louder, faster, funnier!” I’d love to see this production pull out all the stops and dare to be bigger and crazier. A little more zeal, a little more danger, and the show would hold its own.

The Physicists

Produced by Genus Theatre

Written by Friedrich Durrenmatt

Directed by Nicole DesLauriers

PAL Theatre, November 12-21^st.

Speed the Plow: Dark Hollywood

Rachel — Tue, 17 Nov 2009 02:29:27 +0000

Mamet’s Speed The Plow[1] is a rapid-fire dissection of the corrupt world of Hollywood movie making. In the play, Head of Production Bobby Gould struggles to determine whether he should greenlight a vacuous blockbuster or an apocalyptic book of revelatory poetry. “Being a good man” suddenly has multiple interpretations. Is he good if he does his job and makes money for the studio, or good if he produces a certain flop in the interest of moral art?

Terminal Theatre’s production of Speed the Plow at the Havana Theatre is very well-directed by Sarah Szloboda, who manages to create a hot house of pressure in a tiny black box theatre. The play’s success largely depends on the skill of its actors, who must deliver Mamet’s operatic text with brisk precision. Mikal Grant (Bobby Gould), Ivan Wanis Ruiz (Charlie Fox), and Alexis Kellum-Creer (Karen) rise impeccably to the challenge. Grant is able to deftly navigate the journey from superficial power boxer to conflicted humanitarian. Without his ability to reveal conflicted emotional depths, Mamet’s text would be reduced to a clever articulation exercise. Gould’s ability to reveal the vulnerability beneath his producer’s armor gives the play the moral depth it needs to be effective. Kellum-Creer’s earnest performance leaves us with the unanswered question: is she a naïve do-gooder or a Hollywood whore in disguise, trading sex for power? Ruiz climbs deftly from groveling wannabe to controlling shark, only occasionally falling into the Mamet language trap and sacrificing emotional authenticity for the rhythm of the text.

Speed the Plow poses some compelling questions for the Vancouver film community. Where do we draw the line between commercialism and art? What do we sacrifice by catering to the bottom line? And, most importantly, what kind of person does this industry turn us into? Szloboda’s Speed the Plow is a swift, powerful analysis of the pressures of the film industry. If you’ve ever wondered where your movies come from, Mamet’s scathing play offers a dark perspective.

Speed the Plow

Written by David Mamet

Havana Theatre, November 3-14^th

Directed by Sarah Szloboda

With Mikal Grant, Ivan Wanis-Ruiz, Alexis Kellum-Creer

Produced by Terminal Theatre

[1] Because the title seems so unrelated to the subject, I dug up this quote from Mamet regarding the title: “I remembered the saying that you see on a lot of old plates and mugs: ‘Industry produces wealth, God speed the plow.’ This, I knew, was a play about work and about the end of the world, so ‘Speed-the-Plow’ was perfect because not only did it mean work, it meant having to plow under and start over again.”

Joseph and the Amazing Technicolor Dreamcoat: Cheese, Glorious Cheese

Rachel — Tue, 17 Nov 2009 02:26:33 +0000

Footlight Theatre Company’s production of Joseph and the Amazing Technicolor Dreamcoat is a silly roller coaster of infectious songs and good family fun.

Loosely based on the story of the biblical Joseph, Andrew Lloyd Weber’s Joseph transforms a serious retribution story into a multi-genre, musical fluff fest. It’s colorful, it’s loud, it’s catchy, and it’s sweet. In director Lalaina Lindbjerg Strelau’s own words, Joseph is “one of the silliest, craziest, most wonderful shows [she’s] had the pleasure to work on.” What the musical lacks in content, it makes up for in style. Strelau pulls out all the stops to make Joseph as perky as can be: bright costumes (thanks to Christina Sinosich), talking animals, an interactive Elvis, and the cunning use of cute children.

The lead voices are top notch. Bree Greig (Narrator), Danny Balkwill (Joseph) and some excellent supporting voices elevate the production standards. Even so, at times Joseph rides a fine line between a professional show and community theatre. The Amazing Technical Kids Chorus, while heartwarming, creates a happy chaos that seems more reminiscent of a Christmas Pageant than a professional show. Strelau generally rides this line well, capitalizing on the freedom to create ridiculous tableaus while wowing the audience with the genuine talent of its vast cast. However, she missteps with an indulgently long encore that seems to have no other purpose than lengthen the show and show off some of the supporting cast. A full ten minutes after the show properly ends, the chorus is still trying to rally the audience into a happy, hand-clapping frenzy. If the show had ended in its proper time, the audience would leave happy. As it was, I was tired of applauding and a little baffled. Another discordant moment was elevating Joseph on a lift at the end of the show. While it’s nice to see the coat in all its glory, this clumsy moment just seemed too orchestrated and abrupt to be justified. Also, the sound system was unfortunately uneven (probably just some opening night wrinkles) and some of the solos (like Pharaoh’s) were inaudible.

Despite a few miscalculations, Joseph does deliver on its promise of fun and entertainment. A few days later, I’m still humming the songs, tapping my toes, and thinking about those cute kids. So perhaps the proof is in the cheese after all.

Joseph and the Amazing Technicolor Dreamcoat
Presented by Footlight Theatre Company
Michael J. Fox Theatre, November 6-14th, 2009
Starring Bree Greig, Danny Balkwill,
Directed and Choreographed by Lalainia Lindbjerg Strelau
Music Direction by Monique Creber
Produced by Jim and Alison Stewart

Interview with Studio 58: The Winter’s Tale

Rachel — Tue, 17 Nov 2009 02:18:20 +0000

Mike Wasko as Leontes, photo Langara

Langara College’s Studio 58 is mounting The Winter’s Tale, directed by alum Anita Rochon and starring alum Mike Wasko in the lead role of Leontes. I spoke with Anita and Mike about coming back into the conservatory fold, and the unique opportunity they have to mentor aspiring artists. Interview.

Elizabeth Gilbert – Nurturing Creativity

Rachel — Fri, 16 Oct 2009 21:07:50 +0000

House of Kosa

Rachel — Tue, 06 Oct 2009 22:03:51 +0000

House of Kosa publicity photo

Tigermilk Collective has just put up a new show at PAL Theatre in Vancouver. “House of Kosa” is a biting look at the fashion industry’s destructive commodification of women. I grabbed an interview with playwright Miranda Huba about her process, the Tigermilk agenda, and the oh-so-fabulous clothes. (We feel objectified, but then we kinda like it, don’t we girls?) Interview.

New Day and We Shared Everything- music riffs

Rachel — Fri, 18 Sep 2009 22:23:57 +0000

Ah, playing with Logic. Logic Pro 8 to be exact. It’s a dynamic music program designed for people with far more savvy than I, but what the hell, why not give it a shot? Week by week I’m crawling through my Apple Pro training series book to try to dissect the power of this program. In Chapter 1, they give us a sound bite to construct and put together. Lacking a guitar, I add my own vocals to the mix, and this is what I get. New Day. Chapter 2 brings even more excitement, with growling guitars and nuclear sound effects. Again, Pat Benatar like, I throw my vocals in to make up for a lack of instrumentation. We Shared Everything. It’s awesome, it rocks, I feel like an 80’s icon…but what am I going to do when they stop orchestrating the sound bites for me?

Oh Winnipeg! A Surprising Musical Memoir

Rachel — Thu, 03 Sep 2009 17:32:06 +0000

PICK OF THE FRINGE, VANCOUVER 2009

****1/2 – Monday Magazine, Victoria

**** – Times Colonist, Victoria

“Oh Winnipeg!” is the journey of a singer/songwriter’s life in – and out – of music. Born into a non-musical family (or is he?), Pippus traverses stripjoints, nude beaches, and insane asylums while stumbling after the big dream. This one-man play features a long-dead great aunt from the London stage, bluesman Eddie “Son” House, original music, and much more. The Vancouver Province says singer/songwriter John Pippus “…is a refined tunesmith with serious pop hooks.”

Bit By Bit Productions presents this one-man, one-act play written and performed by John Pippus. Directed by Rachel Scott.

Debuting at the Victoria Fringe Festival on August 27th at the Intrepid Studio Theatre (Venue 6). All tickets $9. Available from the Victoria Fringe website.

“Oh Winnipeg!” is part of the 25th Annual Vancouver Fringe Festival. The eight-show run takes place at the Havana Theatre on Commercial Drive. The first show is Friday, Sept. 11th. Ticket prices from $10 – $14, along with your five-dollar Fringe membership. Available from the Vancouver Fringe site.

Interview with The Wet Spots about Shine

Rachel — Thu, 27 Aug 2009 18:50:11 +0000

Shine, A Burlesque Musical, hit Performance Works in July. Campy, warm, sexy and sassy, Shine brings out the toast-throwing, titty shaking diva in all of us. Burlesque is a rough and tumble world of sequins and love, where heart and sass and valued more than the perfect high C or precise box step. During Shine, we all become part of a loving, if somewhat offbeat family, that embraces our rough edges with bravery and enthusiasm. I interviewed Shine podcast Cass King and John Woods, who composed the show. Check out The Wet Spots.