Fringe Full of Stars - Monday brings the BEST SHOW SO FAR! Victor & Victoria's Terrifying Tale of Terrible Things

Victor & Victoria's Terrifying Tale of Terrible Things

Now this is how you tell a scary story! From the pre-set of the cartoonish, but creepy, bed draped in fabric that appear to be covered in skulls, to the first few flashes of light and the quickly revealed tableaux, you know you are in for something really special with Victor & Victoria's Terrifying Tale of Terrible Things. I did not see it when first performed by creators Beth Graham and Nathan Cuckow (pretty sure it Sold Out back then), so other than the imagery of the hollow eyed and sunken cheeked Victorian twins, I didn't quite know what to expect script wise. I think, however, even if you did see it previously, this production would hold up and delight you in a Gothically scary way! 2025's Victor and Victoria and played by Eli Yaschuk and Rain Matkin, who have electric chemistry with each other as was seen earlier in the season in NLT's Radiant Vermin. That chemistry continues with this brilliant show. You do not always expect the level of quality in lighting, set, costumes and the tightness of the performance in a Fringe production. Director Jim Guedo, along with his cast, has delivered a real treat. The ridiculous leg acting alone is worth the price of admission. But seriously folks, it's so incredibly good. It's hysterical, fast-paced, with twists and turns, is at times super scary, and always engaging. I was captivated from the first hilarious moment to the terrifyingly last one! See this show - you won't regret it! 

Those who self-destruct and those who try to help... Pretty Goblins at Workshop West...

I took in Pretty Goblins by Beth Graham presented by Workshop West Playwrights Theatre last night. It tells the tale of sisters, fraternal twins, Lizzie (Miranda Allen) and Laura (Nadien Chu), and their battle through life. One twin is wilder and self-destructive and an addict who cycles in and out of functional and dysfunctional existence. The other, calmer and more rational, but equally tortured as she is unable to 'save' her sister time and time again. It's told in flashback, and episodes, so we see how these two incredibly close children with the same parentage and opportunity can veer into vastly different adult lives. It's hard to leave the play without a discussion of nature vs. nurture as there are contributing factors from both. It's also hard not to leave the play with an incredible amount of empathy for those who have a self-destructive loved one in their lives. The struggle to support, and try to help after being pushed to the breaking point time and time again is heartbreaking.

This production has all the right components. It is skillfully and sensitively directed by Brian Dooley whose direction never confuses us as to where and when we are and which handles the gruesome parts honestly but with incredible respect for the script, actors and audience (there is one section that is particularly tough). The performances of Allen and Chu are layered and believable even as they zig-zag from past to past to present, and each has an evolution which feels inevitable but you wish wouldn't have to happen. Interestingly, I think that it's easy to imagine these actors in the other role, underscoring the nature vs. nurture discussion. The world that production designer Megan Koshka has created is both beautiful and ugly - depending on what it needs to be - a squalid room, a child's bedroom, a wedding reception...

Pretty Goblins runs to April 29 at the Backstage Theatre. Tickets can be purchased here.

Of Women and Women - Gender Politics in The Penelopiad at The Citadel

Contrary to the title, I am not going to spend a great deal of time talking about gender politics other than to say that because of recent events in the world like this and this and this there is something so relevant and current about it.  You wouldn't necessarily think so since it tells a story that is ages old, but it tells it through the eyes of Penelope, the patient and faithful and clever wife of Odysseus.  Over the past few years, when studying drama at the University of Alberta and in working on my own plays a common question was "Why this play now?" and it makes me look at the theatre I see through that filter.  The Penelopiad has relevance now, because there are many, many situations in the world, and not just far away from us in the world, where women are relatively powerless in the world of men.  Something to think about...

And now, about the play and the production...

I read Margaret Atwood's play four years ago and loved it. It is a play that reads remarkably well on the page.  There is a reason for this - it's very much a story told through narration.  And I would say, that if you are going to have a play with this much narration, get Beth Graham to do it.  She was so strong as Penelope and she never failed to engage the audience.  You sympathize and connect to her and Graham makes Penelope likable and compelling and funny.  The world is created by the ensemble of maids who double as the many characters in Penelope's life from the arrogant and beautiful Helen of Troy (Mary Hulbert) to the clever and strong Odysseus (Lisa Norton) to the fawning and sniping nursemaid Eurycleia (Catherine McNally).  It's hard to single people out because what is truly lovely about this production is the strength and the evenness of the ensemble.  It was refreshing to see the stage filled with 13 strong women actors and see no weaknesses.  All the women, save Graham, flip effortlessly from maid to suitor to king or queen.  Some transitions taking place onstage with a simple addition of a costume piece and all of them flowed perfectly from one character to the next.  They sing and dance as a chorus carrying the story along and Don Horsburgh's music is used well to create the feelings of the moment as required. Director, Brenda Bazinet, deftly uses humour (more so in the first act) to engage us but she does so with the right amount of reserve so as to not take away from the drama of the piece. It all takes place on the gorgeous set created and lit brilliantly by designer Brette Gerecke. It is beautiful to watch and look at.

I like this idea of the modern and accessible re-telling of the old stories.  I like that you can understand every word and be drawn in and not feel like you have just read some dry and dusty book about mythology and legend.  I especially like that it re-invents the story and tells it from the point of view of a dis-empowered character and in that way empowers her. Why this play now?  Well, it's about time...