Tag Archives: ellie heath

Saturday inside the Fringe, and out.

For me, it was the second Saturday of Fringe.  Our show The Big Fat Surprise closed Friday night (with another sold-out house!) so Saturday I was washing show laundry, then celebrating the parking-space win, catching some shows, lending another artist some of my furniture for a prop, eating festival food (still love that Lunchpail grilled cheese with fresh chips and classic vegetable sticks), checking in at the Lost and Found, serving drinks in the North Tent, talking to friends, and going home in the rain.

I immerse myself in Fringe while the festival is on, after being preoccupied with show prep and publicity for weeks ahead of time, so it sometimes astonishes me that other important things are happening this week outside of the Fringe bubble.  New babies were born.  Couples got married.  Birthdays were marked on Facebook and off.  Students prepared for the next grade, the next diploma, the next degree, the next challenge.  A whole Summer Olympic Games happened and I didn’t watch or read any coverage at all or knit anything for the corollary Ravellenics celebration.  The Old Strathcona Farmers’ Market shared the crowd and the parking spaces like an ordinary Saturday.  And last night I stepped into the Fringe North Beer Tent wondering about the music I was hearing, and I discovered they were using their new monitors and good speakers to share the CBC feed of the Tragically Hip’s last concert of their last tour, from the Rogers K-Rock Arena in Kingston Ontario.   While the Fringe went on outside, vendors and street performers, artists handbilling their last few shows, the High Level Trolley shuttling to downtown full of people – the tent was full of shared recognition of the Tragically Hip and of their lead singer Gord Downie, whose announcement of terminal cancer prompted the band’s decisions to tour one last summer and then retire.  I lived in Kingston for many years, and I saw the Hip’s first concert in that venue in 2008.  The CBC live feed and the social media streams reminded me how important they were and are to Kingston and to Canada and to music.  Go in peace, Gord Downie.  And Gord Sinclair, Rob Baker, Paul Langlois, and Johnny Fay.

By the second weekend of Fringe, I’ve heard lots of other people’s recommendations of what to see.  And although I try not to think of anything as a must-see, because there would be so many that I’d always feel disappointed, the recommendations helped me choose three good shows yesterday and pick up some more tickets for today.

The Fall of the House of Atreus – A very clever comic take on the ancient Greek tragedies of Euripedes, from Jessy Ardern as playwright and Corben Kushneryk as director and designer, the same team that created last Fringe’s Westbury-stage delight Harold and Vivian Entertain Guests.  Fellow BFA Acting grads Graham Mothersill, Sarah Feutl, and Morgan Grau are the Chorus telling and enacting the connected tragedies of Euripides, with all the vaguely-familiar characters – Pelops, Atreus, Iphigenia, Orestes, Clytemnestra, Helen and Paris, etc.  Simple costume elements and hand gestures helped to keep track of who was who, and found-object puppetry added interest to different ways for characters to be killed.  The energetic performers embraced the material and found humour in the grim tales.  The pace was good and it looked like fun for them as well as for the audience.  It’s now closed.

Little Orange Man – Ingrid Hansen’s charming solo show also presents gruesome stories in a very funny way, in this case through the unique voice of a girl of ten or eleven, recounting her grandfather’s Danish folk tales and recruiting the audience’s help for a dreamscape quest.  It’s held over, so after a last show tonight at 8 pm it should move easily from King Edward Academy to the larger room of the Westbury.

Nighthawk Rules – Collin Doyle’s and James Hamilton’s ten-year-old script was directed by Taylor Chadwick in Theatre Network’s new space Roxy on Gateway (the old C103).  Comfortable wide chairs around a shallow thrust stage make the venue’s legendary summer heat more bearable, as do the cold drinks on sale at the venue.  Chris W Cook (3…2…1, Criminal Genius, Sequence, Bronte Burlesque)  and Christopher Schultz (Wish) play old friends approaching 30 and floundering in their party-bro lives, Schultz’s character trying to live up to his new girlfriend’s expectations about settling down, and Cook’s character trying to hang on to the old camaraderie of drinking games and all-nighters.  I had thought already that Chris Cook was good at bringing a mix of naïveté and good intention to vulgar characters, so he was well cast in the role of Dick, and Schultz’s character Barry seems competent and grown-up only by comparison to his buddy.  I had a great deal of sympathy for the girlfriend (Ellie Heath) until we met her and she talked about her boyfriend completely as a project she had invested time in developing in order to satisfy her perfect-wedding goals, quickly flouncing out again with threats to Barry about cleaning up the apartment and getting rid of the loser friend.   The story was very funny and the resolution of some of the problems delighted me with its unexpectedness and credibility.  Nighthawk Rules has one more performance today at 4:30 pm.

I’ve got a few more drinks to pour, a few more tickets to use, a few more Festival snacks to consume, and then it’s over.  That was then, this is (still) Fringe.

Queen Lear – a play about a play

Part of the handful of theatre ticket vouchers that I acquired in the Rapid Fire Theatre Date Night auction in January was a pair of tickets to see Eugene Strickland’s Queen Lear, a Shadow Theatre production at the Varscona Theatre.  John Hudson directed, and the cast included Alison Wells as Jane, Ellie Heath as Heather, and Diana Nuttall as The Cellist.  The Cellist did not have a speaking role, but she was an active contributor to the story, as the music seemed to represent Jane’s inner thoughts and emotions.  Jane could hear the music, and sometimes it was loud enough to distract her or irritate her, even to the point of yelling “shut up!”  The Cellist also had an expressive face, showing what she was thinking about the various conversations and actions on stage.  I really enjoyed what the music and the musician added to the performance.

Jane is an actor in her 70s, who has been cast as Lear in an all-female production and who is anxious about being able to memorize her lines.  Heather is a 15yo family friend whom Jane has hired to run lines with her.  The show in which I’d seen Ellie Heath most recently, KIA Productions’ Closer,  also takes advantage of the actor’s skill at using unguarded facial expressions and casual postures to emphasize her character being younger than the others. As Heather, she’s a likeable young person with good manners but she is blunt, impatient, and uninterested in the problems of her elders.  In each scene, Jane and Heather work through a bit of the script in order, and they gradually get to knowing and trusting each other.  Heather lives with her widowed father.  Jane lives alone and is lonely and sometimes worried about being able to perform adequately in the play.

Costumes and stage dressing make a beautiful warm autumn-colours palette.  In the final scene, we see a small excerpt from the performance of Lear, with Jane in a rich gown too heavy for her and with Heather playing Cordelia, and it is so effective that it made me and my playgoing companion wish to see a whole production of King Lear with the title role being a woman.   Parts of the performance made me think about the third season of Slings and Arrows, and how easy it is to entwine the story of an aging performer with the struggles of playing King Lear.  Having it be a woman made me get it more, I think, too.

The run continues at the Varscona Theatre until March 30th.  More details are here along with a link to Tix on the Square.  It’s worth seeing, and generates lots to talk about.