Tag Archives: colin matty

Two samples of local history, the macabre and the hopeful

Already this theatre season, several great productions have been seen on Edmonton stages.  The Colour Purple at the Citadel was a powerful tale of resilience, with really great music and an inspiring performance from Tara Jackson.  Silent Sky at Walterdale was based on the true story of early-20th-century astronomer Henrietta Leavitt.  Teatro closed their summer season with Vidalia, which was confusing and ridiculous and very entertaining.

This week I was able to watch two performances with local roots and seasonal resonances, and I enjoyed both.

Dead Centre of Town XII is this year’s version of Catch the Keys Productions’ annual exploration of historical horror by Megan Dart and Beth Dart. This one is set at Mellon Farm, the 1920s-era farm property at Fort Edmonton Park.  Attending the Hallowe’en event is one of your few chances to get a look at the Park while the renovations are continuing.   The horrifying stories out of local history feel more intimate this year, with an audience of only 25 for each performance encountering the characters in the farmhouse and yard.   Fans of previous Dead Centre of Town shows will recognize the hench/guides played by Colin Matty, Christine Lesiak, and Adam Keefe.  Other characters and stories are unique to this year’s production, and there are other surprising and disturbing design elements.  Dead Centre of Town XII plays until November 1st, tickets here.  Wednesdays through Saturdays it’s part of the bigger Hallowe’en event Dark, and Tuesdays and Sundays you can experience it on its own.

I could tell you a lot more about it, but not without spoiling things – and in Dead Centre of Town, it’s better when unexpected.

E-Day, by Jason Chinn, opens tomorrow at Roxy on Gateway, a Roxy Performance Series offering by Serial Collective.  I got to see a preview show last night.  I try not to review previews because it seems not-quite-fair, but my calendar is quite busy this month and last night was my chance.

I loved it.  And I cried.  It was a little like Kat Sandler’s The Candidate / The Party, which were large-scale views of behind-the-political-scenes of a national leadership campaign and election.  But it was more like 10 out of 12 by Anne Washburn, the peek into technical-rehearsal week at a theatre company which Theatre Network produced a few years ago.    And for me it was … you know how Badlands Passion Play has the huge advantage of starting out with an evocative plot and characters that most of the audience not only knows but cares passionately about? Like, when I arrived on site, before I found my seat I looked around at the hills and saw the three crosses, and it took my breath away because I knew what was coming and it was going to be right there.  Yeah, like that.

E-Day takes place during the 2015 provincial election campaign, from E-28 to E+1.  The whole play is set in a campaign office for a local candidate, Candace Berlinguette (all the characters are named after the performers), who was unsuccessful in the 2012 election.  With credit to set/costume designer Beyata Hackborn, it looked like any campaign office I’ve visited or volunteered in.  The table of donated food, the phone bank of mismatched phones, the signs on the fridge, the beautiful coded maps,  the coloured floor tiles and alphabet squares left over from the daycare previously in the space.  Audience was seated on all four sides, and there was always lots to watch – the office manager in the corner (Amena Shehab), the teenagers on the phones (Asia Bowman and Shingai David Madawo), the comings and goings out the various doors and the mission-control of the voter contact organizer (Sheldon Elter) and his assistant (Kiana Woo).   As in The Candidate/The Party, the candidate has a same-sex partner who has limited patience for the compromises of politics (Beth Graham).

What I loved about this play was twofold.  First, the specifics felt so right.  I had been a little disappointed in the Kat Sandler scripts being about an imaginary electoral system that resembled the American one, because I felt hungry to find humour and hope within our own Canadian system that I work within.  (Like Michael Healey’s Proud, with its slightly-different-outcome of a real election, and the Parliamentary seating diagram with the red, blue, orange, and pale-blue post-its).   But this one was so believable and so local in scope – everything I knew about election volunteering, about identifying supporters and pulling the vote, about why people volunteer and who runs a campaign – it all fit.

And in E-Day, it all mattered.   Characters remind each other that the hard work and insight from the previous election loss are helping them run this campaign, and when they despair of winning this one, they repeat that every supporter gained this time makes things easier next time. Plot details are consistent with this.  And in the middle of the discouragement, someone with a laptop whoops and they cluster around to the voiceover and music of the announcement that their party will be forming the government.  And that was the other thing I loved – the message of long-term hope, that whether or not any particular campaign goes the way you want, it’s all worth it in the long term.   And this week, I appreciated getting those reminders.  They made me cry.

Dead Centre of Town tickets are here.  Many of their shows sell out, so get yours early.

E-Day tickets are here.

I’m off to Banff for the Community Theatre Summit, which I’m sure will inspire me with theatre ideas and make me a better artist and board member.  And when I come back, I want to see Baroness Bianka’s Bloodsongs, and Fight Night, and The Roommate, all opening soon on local stages.

The Malachites’ Macbeth

I think I’ve probably seen more productions of the Scottish play than of any other Shakespeare play.  At Stratford I saw Maggie Smith play Lady Macbeth, and in a later Stratford production the handwashing scene was played on a starkly-lit stage covered with a large piece of white cloth that the Lady scrunched up in turmoil as she tried to erase the consequences of their actions.  I saw a production at Shakespeare on the Saskatchewan in which the young lead couple had sizzling chemistry, a Theatre Prospero version at the Thousand Faces Festival with Bobbi Goddard playing the Lady and Elliot James playing the title role, and Reneltta Arluk’s Cree adaptation Pawâkan Macbeth, in which the stakes are raised by making Kâwanihot Iskwew (the Lady Macbeth analogue) pregnant and in which Macikosisân (Macbeth) is drawn further into evil as he is possessed by the cannibal spirit Wihtiko.

Last night I saw the Malachite Theatre Collective version at Holy Trinity Anglican Church (playing until Jan 19th, tickets on EventBrite).  It was good and some things about it were great.  Directing choices by Benjamin Blyth had the witches (Monica Maddaford, Jaimi Reese, Kaleigh Richards) pacing near-silently up and down the aisles of the church observing and compelling the action, quietly keening and hissing and breathing like Darth Vader.  They also worked on a spinning wheel, and made a sort of cat’s-cradle with threads to wind up their charms.  Janine Waddell’s fight choreography included a splendid bit where young Fleance (Anna MacAuley) fights off the assassins using some credible martial-arts-type moves.  Banquo (Colin Matty) and Macduff (Sam Jeffrey) were both good, and the Banquo’s-ghost staging was disturbing.

Macbeth (Byron Martin)’s decay in the second half of the play was illustrated by his slumping on a throne too big for him.  I had some difficulty hearing/understanding him, both when he was shouting in this scene and near the start when he is speaking to the witches, to Duncan, and to his allies.   I also struggled to hear a couple of other characters speaking while facing away from the audience and into the choirloft space of the venue.  Lady Macbeth is played by Malachites’ principal Danielle LaRose.  She also directed/designed the music, eerie chanting, drumming, and Norse/Gaelic soundscapes which made hair-raising use of the acoustic properties of the venue space.   I liked the way that Lady Macbeth paced silently with her lantern through several scenes before the doctor and gentlewoman discussed her new tendency to sleepwalk.  I also liked seeing Macduff and Malcolm (Owen Bishop) play chess through what is sometimes a boring exposition of the state of the conflicts.  This production also did a good job of the heart-wrenchingly poignant scene where Lady Macduff (Monica Maddaford) and her child (in this case a daughter, Anna MacAuley) enjoy playful sass while the audience knows the assassins are coming.   Other actors for this production included Bob Greenwood, Dana Luebke, Brennan Campbell, Brann Munro, Naomi Aerlan, and Marie Boston – a big enough company to create the sensation of being surrounded when the soldiers march up the echoing wooden floors between audience pews.  There were a few places where I was confused about who the characters were, trying to figure out if they were double-cast.

Sarah Karpyshin’s set makes good use of the shape and existing furniture of the Holy Trinity sanctuary space, with one brilliant gun-on-the-mantle touch which I will not spoil.   Costumes (Dana Luebke) were simple, fighters in tunics and fur leggings and cloaks, women in simple robes, English soldiers in mail coifs and St George’s Cross tabards familiar from this company’s production of Henry V.

I usually have a hard time being convinced of the title character’s relatively quick transitions in this story from modesty to ambition to desperation, and this production was no exception.  If I went to see it again (I probably don’t have time), I would try to sit closer to the front and listen/watch closely in the early scenes.

If you have time and you like Shakespeare, or sword-and-dagger fighting, or stories of ambition and temptation and everything going wrong, then you should see Macbeth.

Spooky October performances 2018

I’m not managing to see everything on Edmonton stages these days, but I wish I could.  I wish I’d seen Lenin’s Embalmers at U of A Studio Theatre, or the Maggie Tree production Blood: A Scientific Romance.  From what I’ve read about them, it looks like the creepy or paranormal themes could have fit into this Hallowe’en-week blog roundup, too.

At the Walterdale Theatre, I helped work on The Triangle Factory Fire Project, a script prepared by Christopher Piehler in collaboration with Scott Alan Evans using various primary source materials, and directed here by Barbara Mah.   It was thought-provoking and disturbing, because the horrible fates of real people were depicted graphically, because the resulting legal case portrayed did not result in justice, and because the hazards of the garment industry juxtaposed with fashion advertising are not so different from their contemporary equivalents.   Watching this story play out every night as one of the booth operators, I kept cheering for some of the determined young women who lived to tell their own stories, particularly Rose Freedman (Danielle Yu), and Ethel Monick, (Stephanie Swensrude), and kept getting angry at the factory owners and their lawyer (Eric Rice, Kent Sutherland, and Matthew Bearsto).  It was a relief to close that show and watch some scary shows for fun.  

Dead Centre of Town XI has four more performances in the Blatchford hangar at Fort Edmonton Park.  This year the macabre true stories researched and written by Megan and Beth Dart of Catch the Keys all relate to air travel.  As usual, the audience members are guided through relevant settings to encounter the characters of various disasters and mysterious happenings, while super-creepy poet/narrator Colin Matty provides extra detail and atmosphere.  “If humans were intended to fly, why are they so Goddamned squishy?”, he muses.  More live-theatre than haunted-house, this annual immersive event does a great job at making the details build up the overall experience – even the ticket distribution (“boarding passes”) and the traffic-management (impersonal masked uniformed airport workers in a crowded “boarding lounge” with staticky announcements) are part of the adventure.

Dark! at Fort Edmonton is new this year, adding on food (with creepy nicknames like Bloody Balls and Skewered Rat), drinks, and adult-level haunted-house attractions.  I went to one of the haunts, and decided that I prefer the Dead Centre of Town style of horrifying imagery enhanced by narrative, to the unexplained jump-scares of Dark!

The Bone House, by Marty Chan, also has performances remaining on Tuesday and Wednesday this week.  It was also very scary in a different style again.  At first it felt like a TV or movie experience, with a forensic-psychology expert presenting an illustrated lecture about serial killers, but it became more unsettling – it was easy to involve myself into the story enough that I could imagine being in danger, but I also began to feel somewhat complicit in choosing to listen to serial-killer narratives in any medium.  Brrr.

This weekend I also managed to fit in a performance of Northern Light Theatre’s Origin of the Species, by Bryony Lavery.  With direction and set/costume design by Trevor Schmidt and performances by Kristin Johnston and Holly Turner, it uses the ridiculous premise of a contemporary archaeologist encountering a live prehistoric woman, to touch on several important themes with a subtle touch.  I particularly enjoyed the very gradual transition of the prehistoric woman Victoria (Johnston) towards modern physicality and communication, and the many ways that both characters subvert assumptions about “traditional” gender roles.

A few of the thousand faces

Last night a friend took me along to the Thousand Faces Festival, which explores myths from around the world in a variety of performance media.  We attended two events, a performance of Shakespeare’s Macbeth and a Mythic Poetry Brothel.

Macbeth is a familiar enough story, full of archetypes and supernatural elements and sayings that have entered common use, that it fit easily into the theme of myth.  This production was not the most compelling one I have seen, but it was fast-paced and had some good moments.  Macbeth was played by Elliot James, who I last saw as a worse-than-archetypal asshole cop in Dirt.  He had some of that character’s swagger, and not very much regret.  Bobbi Goddard, a BFA Acting student at U of A, was Lady Macbeth (while also playing in When the Rain Stops Falling this week).   Other familiar local actors were also involved – Oscar Derkx, Mat Simpson, Lianna Makuch – but there were no printed programs and the headshot display in the lobby was incomplete and didn’t identify roles.  I also don’t remember who directed it and can’t find that information anywhere today.

The Mythic Poetry Brothel, a coffee-house style event, started in the beer garden behind the Alberta Avenue community hall but migrated smoothly into the hall when the night got cool.   Local poets (including Colin Matty and Tim Mikula) read or recited their work in character as various deities, and additional entertainment was provided by MC Morgan Smith and an interesting collection of musicians and dancers.  The “Brothel” part of the event title probably referred to the opportunity to get private readings by making a donation to a poet.  Sort of like table dances I guess.

The Thousand Faces festival resumes next Friday evening.  I love living in a city which has such an assortment of arts festivals, including small ones like this with admission by donation.