A Special Guest Review of The Mountaintop at the Citadel Theatre!

 I was unable to use my ticket to The Mountaintop at the Citadel this past weekend (Easter plans) and having seen the show before I passed along my ticket to my thoughtful friend, John Anderson, who had wanted to see the show. So, here is a "Special Guest Review" Post for the show!

Similar to the play itself, the Citadel’s new production of Katori Hall’s play, The Mountaintop, is deceptively simple at first glance. The story is a fictional reimagining of how Martin Luther King spent his last night alive, right after he returns from delivering his famous final sermon, I’ve Been to the Mountaintop. At his room in Lorraine Motel, King encounters an eccentric and mysterious room service attendant, Camae. With her company, MLK experiences his final moments of privacy in life.

John C. Dinning’s Set Design combines realism and abstract to tell its story. The motel room is entirely what one would expect from a real life motel room, but the borders of the stage present something else… Like all famous people, MLK was surrounded and trapped by fame. Even alone in his room, he is never allowed to be alone. All along the edges of the Maclab Theatre stage, there are strewn newspapers, letters, documents, communications, facts, opinions, and destiny. Upstage from the room, there are clouds that Jeff Osterlin’s lights dance across to effectively make it seem as though the clouds are really moving. Occasionally, Dave Clarke’s thunder booms and roars to remind MLK of the danger his life is in.

Ray Strachan is tremendous as King. His physical and vocal control seem effortlessly natural, despite clearly intentional choices in every moment. With all MLK’s fame and renown, it would be easy to fall for the wrong choice and portray King with an inhuman level of gravitas. Thankfully, the script, direction, and performance all draw the character in a more human and therefore compelling light. Once Patricia Cerra enters the motel room as the enthralling Camae, the two actors own the stage thanks to their talents, but also thanks to very strong direction from Patricia Darbasie. She has done wonders with her cast. King and Camae’s chemistry as channeled through the actors is delightfully engaging, especially when the conversations take unexpected turns.

In the finale of the play, there is a repeated phrase about contribution and progression: “The baton passes on”. With their production of The Mountaintop, Patricia Darbasie and her team have successfully passed it along to Edmonton audiences.

- John Anderson – April 1st, 2024

The Mountaintop runs to April 21st at The Citadel Theatre. Tickets range from $35.00 to $125.00 and can be purchased here. 

My thanks to John for the awesome review! I hope you all get to catch the show while it's here!

Sometimes it's hard to be nice... Lessons Learned with Donna Orbits the Moon and Spinsters in #yegtheatre this week...

I caught two thought-provoking (and funny) shows this weekend. 

Patricia Darbasie in Donna Orbits the Moon,
Brianne Jang BB Collective Photography

The first, Donna Orbits the Moon presented by Northern Light Theatre, was a one-woman show with the impressive Patricia Darbasie as Donna, a woman finding herself reacting with intense rage to inconveniences in her life. We are not exactly sure at the beginning why these moments are provoking such anger and violence, but there's something in the way that Donna tells the story that we are totally on her side. Indeed when I read a description online before seeing the show, I immediately connected. Too often we are expected to smile and be accommodating and the desire to say "No!" is often very strong with me. I see you, Donna! But there's something more to Donna's rage. There's a concrete reason she's suppressing and the reveal is deftly revealed in a touching and emotionally moving way (Directed by Trevor Schmidt). I appreciated the layered humour, and the beautiful lighting (Rae McCallum) and projections (Matt Schuurman) that echoed Donna's fracturing as she moved through her journey and we learned the whole story. It's funny, because Donna does some really bizarre things, but it is also heart-breaking and poignant, when we find out exactly why. I also enjoyed that the play was set in Minnesota, near Duluth, as that's a place close to my heart. 

Donna Orbits the Moon runs to February 3rd. Tickets are $38 but there are PWYC and 2for1 nights. Tickets can be purchased here. 

Christine Lesiak and Tara Travis in The Spinsters, 
Marc J Chalifoux Photography & Video

The next night I went to The Spinsters presented by Small Matters Productions. On it's surface it's the story of Cinderella's step-sisters (they take umbrage at the label ugly stepsisters) played by Christine Lesiak and Tara Travis. The stepsisters are larger than life and very funny and they engage with the audience cleverly with tongue-in-cheek cattiness. The story is relayed through wonderfully creative puppet shows, along with the spinsters own retelling. They have opinions about how they have been portrayed and they aren't impressed with much of it! The costumes and Production design (Adam Dickson & Ian Walker) are ridiculously clever and mind-blowing. There's literally a pocket for everything! And the puppetry is similarly fun (Jeny Cassady). But this show is more than just fun - you will laugh, but there's also a big uh-oh moment to add weight and make you think a lot after the show. 

The Spinsters runs to January 27th. Tickets are $25 plus fees, but there are some special events throughout the run. Tickets can be purchased here.  

With both these shows on my mind, I was thinking a lot about the expectations and perceptions of women in our world. How we have to behave a certain way and pushing back against those expectations gets us labelled or chastised, and even when we do what we've been told to do, we can still end up victims. I thought a lot about the Sarah Polley book of essays I read over the holidays, Run Towards the Danger, and how she reflects on her experience with Jian Ghomeshi and other events in her life that were shaped by her need to please or be considered 'good'. I'm still thinking about both shows and how I want to be in the world, and sometimes I think I might want to be like Donna and have a little rage, or like the Spinsters and not always be so very, very nice. 

More than tea and scones in Going to St. Ives...

Sometimes you completely have the wrong assumption about a play and you are wonderfully surprised when that is turned on its ear... That was me tonight at Going to St. Ives at the Varscona Theatre presented by Altas Theatre Company. I hadn't read too much going into the show so all I knew was that it was about two women meeting for tea. There was so much more.

The two women could not be more different. May N'Kame (Patricia Darbasie), the mother of a despotic African 'emperor', has come to England to receive eye surgery from Dr. Cora Gage (Belinda Cornish). Prior to the surgery Dr. Gage has something to ask of her patient - a favour. There are of course, complications and consequences to this request.

The script by Lee Blessing is wonderfully complex, and skillfully directed by Julien Arnold. Each of the women is brilliant and articulate and they each have a very good understanding of their world. They are however both somewhat prejudiced with how they see the other's world. Their cultural differences mean that each steps on the other's toes at times - sometimes deliberately and sometimes accidentally. Both Cornish and Darbasie give complex and layered performances. This is not their first time in these roles as the play was presented a few years ago with the same cast, and I think because of that they both really know these characters they are playing. There is a real investment from both of them and each has their moment of raw and exposed truth.

Beyond the performances, what I liked was that it challenged me and how I think about the world. I don't know if it gave real answers and solutions, but it certainly says that there aren't a lot of easy ones out there.

Going to St. Ives runs to April 14 at the Varscona Theatre. Click here for tickets.