MUSICAL REVIEW: 9 TO 5
30JUN/11

JOHN COULBOURN - QMI Agency
Rating: 2.5 out of 5

TORONTO - Let’s see now — there’s the title (plus the catchy little title song) and a brief but memorable, albeit totally celluloid, appearance by everybody’s favourite country gal, Dolly Parton. Beyond that, there’s precious little in the touring stage version of 9 TO 5, currently featured on the Dancap playbill at the Toronto Centre for the Arts, to make you think of the hit 1980 movie that spawned it — never mind overshadow it.

The story is still there — a delicious little fantasy about three women who give their chauvinistic boss a healthy dose of comeuppance — but frankly, without the assistance of the late Colin Higgins who co-authored the movie’s screenplay, writer Patricia Resnick seems to be largely at sea in bringing her work to the stage. Instead of giving us something fresh and exciting, she is content in the main to rely on movie memories rather than her own ability as a storyteller to carry the tale.

And sadly, she gets scant help from Parton who wrote the music and lyrics for this stage version — a score that certainly capitalizes on the success of the title song she wrote for the movie but rarely equals it. While there’s a certain sweetness to Let Love Grow and a crowd-pleasing I Will Survive quality to Get Out and Stay Out, Parton only really hits her stride in Backwoods Barbie — and that, frankly, is not enough to make a soundtrack memorable, even with Dolly dropping by in a recorded pro- and epilogue to take up the slack.

Not that the three actresses cast as the hapless heroines of the tale — Dee Hoty as the widowed Violet, Mamie Parris as the divorced Judy and Diana DeGarmo as the pneumatically gifted Doralee — don’t give it their best shot. Hoty, in fact, proves to be a real trouper by bringing added value to her character, as does Parris, who in the end is simply undone by tragic underwriting. Even DeGarmo has some wonderful moments, although one can’t help but wish she’d content herself with simply channeling Parton instead of attempting to channel Parton channeling Shirley Temple. Together, they manage to bring a level of credibility to a problematic work and if, in the end, they don’t successfully manage to overshadow memories of Lily Tomlin, Jane Fonda and Parton respectively, they at least manage to avoid unflattering comparisons.

But with lacklustre direction from Jeff Calhoun (sharing a credit for unimaginative choreography with Lisa Stevens), not to mention uninspired set design from Kenneth Foy, they face an uphill battle, as do the most seasoned of the supporting cast. While Wayne Schroder earns a bit of slack for stepping into the role of the creepy arch-villianous Franklin Hart Jr. to replace Joseph Mahowald, he simply can’t overcome his youth, adding a completely unnecessary aura of creepiness to an already distasteful role. And frankly, under Calhoun’s direction, Kristine Zbornik suffers much the same fate in the role of the romantically ill-fated office manager, Roz Keith, turning her character into more of an object of pity than of derision.

While Hoty, Parris and DeGarmo do their darnedest to make us root for the good guys, they are undone by a production where the bad guys seem more to be pitied than punished. So sadly, in the end, there seems to be very little difference between a sentence of 9 TO 5 and one of 15 to life — except that with a bit of luck, you might get out of the latter a little sooner with time off for good behaviour.

MUSICAL THEATRE INTERVIEW:
Hugh Jackman a triple-threat performer
30 JUN/11

JOHN COULBOURN - QMI Agency

Some know him best as the taciturn but hunky Wolverine in the X-Men film franchise. Others know him more as a romantic leading man in movies such as Kate and Leopold (opposite Meg Ryan) and Australia (opposite Nicole Kidman). Still others know him as the Tony-winning stage star of such hits as The Boy from Oz, or the sophisticated and urbane host of awards shows such as the Oscars and the Tonys (for which he won an Emmy in the days before Neil Patrick Harris).

The latter just might be Hugh Jackman's most intense fans -- the ones who insist that the Australian-born performer is at his best when he's live on stage, demonstrating his incredible talents as a triple-threat performer -- singing, acting and dancing up a storm.

It's rare indeed for North Americans to be able to see the Wolverine deliver such captivating performances in person. But Toronto is the second city, after San Francisco, to host Hugh Jackman in Concert, which opens Tuesday in a limited run on the stage of the downtown Princess of Wales Theatre.

As the title implies, it will be all Jackman all the time. While it inarguably will be a treat but for most of us, it also must be a daunting affair for him -- onstage all alone (save for an 18-piece orchestra), with no one to whom he can throw the ball if he suddenly finds himself short of energy halfway through the voyage from curtain up -- all without even an intermission to call his own. But if Jackman is in any way unnerved at the prospect, he certainly hides it well as he sits down to talk about his upcoming show.

"I know what you mean," he says with an easy smile when it's pointed out that most people's idea of hell would be 90 minutes or so on stage all by themselves, in front of a few thousand people. "But I find it easier to be on stage than to be going on and off. I feel quite alive and comfortable on stage. Once I'm out there, it doesn't make sense to go off."

That would account, in no small part, for the apparent ease with which he has hosted various award shows -- "It's like a dinner party," he says with an expressive shrug -- but as for a one man show? Well, that's a different matter, he concedes. "It's a lot harder than I thought," he admits with quiet candor, recalling that in the beginning he hadn't even really planned to do a one-man show at all.

In fact, all he was really looking to do was to fill some time that had suddenly become available this year while waiting for the next installment of X-Men to come together. Rather than simply sit and cool his heels, he decided to do something with the time. He recalls asking his agent, "Can you find me a charity gig -- a 30-minute gig?" That would entail working up performances of only three or four songs. Instead, what his agent came up with was a two-week theatre gig in San Francisco and the challenge of putting together a one-man show that, all in all, was not only pretty well received in May, it proved to be a good time for Jackman too. "It was so much fun, just putting it together," he says enthusiastically. "Some things worked and some things didn't. It's been a terrific evolution. I'm thrilled I did it."

Of course, that two-week gig forms the basis of the show he's bringing to Toronto, minus the bugs he managed to work out during the San Fran run. "I'm starting work on a much stronger foundation," he says. But in the end, putting it all together was just the beginning. "That's not the exhilarating part," he insists. "The exhilarating part is when you're connecting. It's like you feel you know each other. They're the moments that are out-of-body. Time seems to slow down."

Considering his Broadway background, one simply assumes that Jackman' s ultimate goal is a stint on Broadway in his own one man show -- and one would be right. Sort of. "My ultimate goal is to be able to do this show for the next 30 or 40 years," he insists. "And if that includes New York, you bet!"

Over the past few years, things haven't been easy for the ex-pat Australian Hugh Jackman, who currently makes his home in the U.S. with Deborra-Lee Furness, his wife of 15 years, and the couple's two adopted children. What he has learned is that the full tragedy of things such as floods and fires aren't diminished simply because you're half a world away.

"It does pull on your heartstrings," Jackman says, "And somehow I feel that as evolved human beings it should always pull on your heartstrings." Watching tragedy ravage his homeland has simply made Jackman more committed to the various charities to which he lends his name and his time -- charities such as the Global Poverty Project and the Worldwide Orphans Foundation. By Jackman's lights, no good deed is ever wasted, and a helping hand offered on one continent can most definitely be felt on another. "I've travelled a lot," he says with gratitude. "And it makes the world seem so much smaller."

DANCE NEWS: NBOC's ALICE a box-office wonder
28 JUN/11

JOHN COULBOURN - QMI Agency

TORONTO - You could say that audience response to its latest production has left the National Ballet of Canada in a state of wonder.

That would be "wonder" as in ALICE'S ADVENTURES IN WONDERLAND, the title of the new ballet by Christopher Wheeldon that has just closed at the Four Seasons Centre, a co-production between the NBOC and the Royal Ballet (UK).

It would also be "wonder" as in wonderful, which is a pretty fair description of how critics and audiences responded to the work — a celebration of dance that sold 27,180 tickets (for a haul of almost $2.5 million) over 13 performances, making ALICE the highest grossing main season production in the company's history.

And, finally, that would also be "wonder" as in: "Wonder when they'll bring it back?"

THEATRE NEWS: Buddies dominates the Doras
28 JUN/11

JOHN COULBOURN - QMI Agency

TORONTO - You could say that Buddies in Bad Times blasted the competition right out of the water at Monday night’s Dora Awards. When the dust cleared after the annual ceremonies honouring the best in Toronto theatre — held this year at the St. Lawrence Centre — Buddies had earned a total of five Dora Awards for its controversial production of Sarah Kane’s BLASTED, an exploration of post- apocalyptic depravity that played Buddies last fall.

In addition to being named best production in the general theatre division, BLASTED also earned best direction for Brendan Healey, best set design for Julie Fox, best lighting for Kimberly Purtell and best sound for Richard Feren.

In the acting categories, however, BLASTED came up short, with Yanna McIntosh being named best actress/play, for her performance in Obsidian Theatre’s RUINED and Joe Ziegler best actor/play for his turn in Soulpepper’s DEATH OF A SALESMAN. Jane Spidell took the Dora for best supporting player/play for her turn in Soulpepper’s DOC.

Anusree Roy’s BROTHEL #9, premièred by Factory Theatre, was named best new play while Ex Machina’s THE ANDERSEN PROJECT, presented by Canadian Stage, was named best touring production.

Meanwhile, even though the Dora for best new musical went to Rufus Wainwight’s opera PRIMA DONNA in its Luminato première, Mirvish Productions dominated on the musical front, scoring a total of four awards: best actor/musical for Tony Sheldon and best costumes for Tim Chappel and Lizzy Gardiner for PRISCILLA QUEEN OF THE DESERT THE MUSICAL and best actress/musical for Kate Hennig and best choreography for Peter Darling for BILLY ELLIOT THE MUSICAL. The Lorraine Kimsa Theatre for Young People took the Dora for best production/musical for its staging of A YEAR WITH FROG AND TOAD.

Also, despite Wainwright’s win for best new musical, the Canadian Opera Company managed to sweep the opera division, taking best production honours for ORFEO ED EURIDICE and best performance for Alan Oke’s memorable turn in DEATH IN VENICE. The COC also earned a Dora in the general theatre division with Harry Bicket taking best musical direction honours for his work on ORFEO ED EURIDICE.

In the smaller independent theatre category, Sky Gilbert’s THE SITUATIONISTS was named best new work, a production which also earned Gavin Crawford best actor honours, while The Company Theatre’s production of THROUGH THE LEAVES, which was named best production, also earned honours for best set design for John Thompson.

Also in the independent division, Nina Lee Aquino was named best director for her work on 'paper SERIES', while Sandy Duarte earned the best actress nod for BLOOD and Christopher Stanton best supporting player for THE NEW ELECTRIC BALLROOM. Lorraine Kimsa Theatre for Young People’s presentation of Concrete Theatre’s ROUTES was named best production in the theatre for young audiences division, while Roberto Campanella and Robert Glumbek took best new choreography for 'Sin BetweenS' in the dance division. Also in dance, 'OUT OF CONTEXT — for Pina' was named best production for its stint at Harbourfront Centre’s World Stage.

In addition to the regular Dora Awards, Michael Hollingsworth, longtime co-artiistic director of VideoCabaret was awarded the silver ticket award and Ben Chaisson the 2011 Pauline McGibbon Award while THE RAILWAY CHILDREN received the audience choice award.

General Theatre Division:
Best New Play-Anusree Roy Brothel #9
Best Production-Blasted Buddies In Bad Times Theatre
Best Direction of a Play/Musical-Brendan Healy Blasted
Best Actor/Play-Joseph Ziegler Death of a Salesman
Best Actress/Play-Yanna McIntosh Ruined
Best Supporting Player/Play-Jane Spidell Doc
Best Set Design-Julie Fox Blasted
Best Costume Design-Tim Chappel & Lizzy Gardiner Priscilla Queen Of The Desert The Musical
Best Lighting Design-Kimberly Purtell Blasted
Best Sound Design/Composition-Richard Feren Blasted
Best Musical Direction-Harry Bicket Orfeo ed Euridice
Best Choreography-Peter Darling Billy Elliot The Musical
Best Touring Production-The Andersen Project Canadian Stage presents Ex Machina
 
Independent Theatre Division:
Best New Play or New Musical-Sky Gilbert The Situationists
Best Production-Through the Leaves The Company Theatre
Best Direction-Nina Lee Aquino paper SERIES
Best Actor-Gavin Crawford The Situationists
Best Actress-Sandy Duarte Blood
Best Supporting Player-Christopher Stanton The New Electric Ballroom
Best Set Design-John Thompson Through the Leaves
Best Costume Design-Melanie McNeill Madhouse Variations
Best Lighting Design-Trevor Schwellnus Nohayquiensepa (No one knows)
Best Sound Design/Composition-Richard Lee paper SERIES
 
Dance Division:
Best Original Choreography-Roberto Campanella & Robert Glumbek Šin betweenŠ
Best Production-Out of Context - for Pina Harbourfront Centre's World Stage presents Alain Platel/Les Ballets C. de la B.
Best Performance-Juan Ogalla Espejo de Oro/Mirror of Gold
Best Original Sound Design/Composition-Joby Talbot Chroma
 
Theatre for Young Audiences Division:
Best Production-Routes Lorraine Kimsa Theatre for Young People presents Concrete Theatre
Best Performance-John Cleland Edward The "Crazy Man"
 
Musical Theatre Division:
Best New Musical/Opera-Rufus Wainwright Prima Donna
Best Production-A Year With Frog and Toad Lorraine Kimsa Theatre for Young People
Best Actor-Tony Sheldon Priscilla Queen Of The Desert The Musical
Best Actress-Kate Hennig Billy Elliot The Musical
 
Opera Division:
Best Performance-Alan Oke Death in Venice
Best Production-Orfeo ed Euridice Canadian Opera Company presents Lyric Opera of Chicago

THEATRE NEWS:
Dancap aims to be Prince of Broadway
20 JUN/11

JOHN COULBOURN - QMI Agency

TORONTO - Hal Prince is headed back to Broadway — once again, via Toronto.


Aubrey Dan and his Dancap Productions, Inc. announced the creative team for a new musical titled Prince of Broadway on Monday — a musical that will feature an array of tunes from shows that Prince has brought to Broadway in a remarkable career that has earned the showman a total of 21 Tony Awards.

Prince of Broadway is slated to hit the Toronto stage in the summer of 2012, with a Broadway opening planned for the fall of that year. Prince himself has signed on to co-direct the project, in company with legendary choreographer/director Susan Stroman. David Thompson is charged with creating the book, while Jason Robert Brown will write the vocal and dance arrangements for musical director Eric Stern. Scenic design and projections are in the hands of Jerome Sirlin, while William Ivey Long will design costumes, Howell Binkley lighting and Peter Hylenski, sound.


As for songs, they’ve got quite a songbook from which to choose. From Pyjama Game and West Side Story to Kiss of The Spider Woman, Sweeney Todd, The Phantom of The Opera, Follies and Fiddler on the Roof, Prince’s 60-year career in show business offers a veritable goldmine of hits.

DANCE NEWS: Karen Kain distinguishes herself
17 JUN/11

JOHN COULBOURN- QMI Agency

TORONTO - Karen Kain, erstwhile prima ballerina and now artistic director of the National Ballet of Canada, was honoured Thursday by the International Society for the Performing Arts with the distinguished artist award.

Awarded in previous years to artists the calibre of Celia Franca, Jerome Robbins, Philip Glass, Maureen Forrester and Oscar Peterson, the award recognizes performing artists who have made an outstanding contribution to the world of performing arts.

Other honourees this year include choreographer Akram Kahn, designer Michael Levine and songwriter Luc Plamondon. 

THEATRE REVIEW:
LU XUN Blossoms
17 JUN/11

JOHN COULBOURN - QMI Agency
Rating: 4 out of 5

TORONTO - For years, the Toronto-based Theatre Smith-Gilmour has maintained a bustling little dream factory at the intersection of theatre and literature, spinning the spirits of such diverse literary lions as Anton Chekhov and Katherine Mansfield and Dante and the Brothers Grimm into full-blown theatrical whimsy, often with great success.

And now — in a world of disappearing trade borders, quite fittingly, it seems — they’ve gone international. While their latest work continues in the company’s long established literary tradition, tackling five short stories from contemporary Chinese writer Lu Xun — considered by many to be the father of modern Chinese literature — it also marks a bold step into the world of international collaboration for the intimate little company.

Created and directed by S-G’s co-artistic directors Dean Gilmour and Michele Smith, LU XUN Blossoms — currently playing an extremely limited run in the Isabel Bader Theatre as part of Luminato — represents the first Sino-Canadian co-production in theatrical history, we are told — and here’s hoping it is the first of many.

Created in collaboration with the Shanghai Dramatic Arts Centre, the work is performed in both Mandarin and English in its North American debut, with appropriate subtitling where necessary. It features a cast of three Canadian performers (Smith, Gilmour and occasional collaborator Adam Paolozza) and three highly talented Chinese actors (Guo Hongbo, Zhao Sihan and Wang Yangmeizi). Since 2007, the work has been seen and embraced by audiences in Shanghai, Beijing, Hong Kong, Guangzhou and Macau.

With Gilmour cast in the role of the writer himself, it all starts simply with the aged Lu Xun seated at his desk writing down his recollections, which come quietly and magically to life as Gilmour leads the cast into the first of five stories. As stories go, the first is more of a vignette, really — a simple, touching recollection of a rickshaw ride that goes horribly awry when the vehicle is in a collision with an old women. Anecdotal though it is, it sets the tone for the rest of the stories, all of which focus on the essential humanity of the poor and dispossessed.

From the rickshaw ride, we move to other recollections, increasingly fleshed out as other cast members take on the role of Lu Xun. An aged servant inadvertently kills a pet mouse then redeems herself with an unexpected kindness; a young man hungers for knowledge, even while he worries that it might land him in hell; an aging peasant dismissed as a criminal ends up giving more than simply his eye teeth in his search for knowledge. In spinning out these tales, each cast member is given a chance to shine, even while they impress with the power of their collaboration.

All of which leads to the grand finale, a deeply affecting exploration of the back story of a tragedy spun out under the title of The New Year’s Sacrifice, and played out with both a sympathy and a simplicity that is little short of breathtaking. Indeed, while some of the stories featured earlier in the program fall prey to Smith-Gilmour’s occasional penchant for over-embroidery (cat’s claws are sharp and some people are really, really hairy — we get it), there is, in this final offering, an almost zen-like devotion to the simplicity and the humanity cocooned at the very heart of the tale.

Rather than gild it, they stand back and simply let the story tell itself, content to underscore its humanity at every turn with an understated but powerful sense of theatricality. It takes a while, but in that single story, Lu Xun does indeed blossom — and it is beautiful.