INSIDE AMERICAN PIE - REVIEW OF 2025 PRODUCTION OF DOCU-CONCERT AT CAA THEATRE

Reviewed by James Karas

Mike Ross and Sarah Wilson have created a musical based on American rock and roll from the 1950’s to the 1970’s that is also a documentary about the growth of the music genre. They provide fascinating information and intelligent commentary about some of the songs, composers and performers of the era. Inside American Pie uses Don McLean’s “American Pie” as the pivotal song of the evening.

“American Pie” has become an iconic song with its extensive lyrics and cultural and historic references that are revealing and utterly fascinating. The lyrics of the dozen songs from the era receive commentary and indeed analysis of American society from the quiet and certain 1950’s to the uncertain and revolutionary 1960’s and the retrenchment of the 1970’s.

The songs used form a cross-section of popular music from Ritchie Valens to the Big Bopper, from Bob Dylan to John Lennon to The Beatles, The Rolling Stones and Janis Joplin.

The performers are Mike Ross who plays the piano, sings and narrates the commentary, Alicia Toner who sings, plays the guitar and the violin, Brielle Ansems who sings, Greg Gale, guitarist, and Kirk White, percussionist. They are concert performers that generate excitement, get audience participation and illustrate Ross’s commentary. All the performers are talented and have other lives but Inside American Pie originated in a tiny theatre in Prince Edward Island and played there successfully to a full house of 127 people for some years. Then someone from the Mirvish company noticed them and, as Ross tells us, here they are performing in Toronto. 

The cast of Inside American Pie. Photo: Dahlia Katz 

Ross tells us the story of Bob McLean who was delivering newspapers in 1959 and caught the headline about the plane crash in which Buddy Holly, Ritchie Valens and the Big Bopper  were killed. He was 13 years old at the time and the experience seems to have made an indelible impression on him. The memorable refrain of the song that he composed in 1971 “the day the music died” is much more than the shock of a boy on a shivering February morning delivering newspapers with terrible news about the fate of those musicians.

It was also the harbinger and a metaphor for social and political change. It was the end of the comfortable 1950’s and the coming of the convulsive following decade of assassinations (John F, Kennedy, Robert Kennedy, Martin Luther King Jr.), the decade of the Viet Nam War and student protests across the nation. The brilliant lyrics  have numerous references, many very cryptic, to historical and cultural events that are not easy to decipher.

One of the more interesting comments is Ross’s interpretation of the following lyrics:   

“And they were singin', bye-bye, Miss American Pie

Drove my Chevy to the levee but the levee was dry

And them good ol' boys were drinkin' whiskey and rye”

American pie or perhaps “as American as apple pie” is a symbol of content, happy Americans imagined in the 1950’s.  The Chevy driven across America may reflect ads for Chevrolet cars by Dinah Shore promoting happy driving across the country. The folks are drinking whisky in the town of Rye rather than the tautological whisky and rye. That’s like saying pasta and spaghetti, Ross tells us. Rye is a town where drinking was permitted. It is an apt and beautiful interpretation.   

The  numerous historical and cultural refreezes are astonishingly wide and a pleasure to detect or find out what others have discovered or guessed.

The performers are vigorous and entertaining. They stay in place as one would expect in a concert performance but the energy and spirit that they show and the expert use of imaginative lighting designed by Simon Rossiter make for an enjoyable evening.

The songs of about fifty to seventy years ago resonated enthusiastically with the audience, most of whom had direct memories or borrowed ones of the era and the richly textured lyrics, they did not hesitate to show their enthusiasm.

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Inside American Pie by Mike Ross and Sarah Wilson continues until March 30, 2025, at the CAA Theatre, 651 Yonge St. Toronto, Ontario. www.mirvish.com/

James Karas is the Senior Editor Culture of The Greek Press

TRIDENT MOON - REVIEW OF 2025 CROW’S THEATRE PRODUCTION

Reviewed by James Karas

Trident Moon by Anusree Roy holds the promise of a tense, dramatic play set in 1947 during the carving up of a part of the British Empire, the Indian subcontinent, into India and Pakistan. Six women, three Muslim and three Hindu are in a truck traveling from Pakistan to India. The Hindu women were servants of the Muslim women and have abducted their former masters and all are in a truck heading for India. The servants are seeking revenge for the death of the husband of one of the women. This may be termed as the revenge of the servants.

The Hindu Alo (Anusree Roy) seeks revenge on the Muslim women for the murder of her husband and sons by the Muslim Pari’s (Muhaddisah) husband. She is with her sister Pari (Muhaddisah) and daughter Arun (Sahiba Arora). The well-off Muslims are abducted, as I said, by their former Hindu servants. Sweet vengeance.

The Hindu women are travelling to the safety of India. The husband of  Alo (Anusree Roy), one of the Hindu women, was killed and she is bent on wreaking vengeances on the Muslim women in the truck. The fate of the captives may be as ugly as delivering them to sexual abuse in the hands of Hindus. This is even though Alo raised the child Heera (Prerna Nehta) who is in the truck.

The women are travelling through the hellish war that is raging along the route. There is anger, violent language and physical violence. A woman is seriously injured and stretched on the floor. The women face imminent danger and they fear what might happen any minute. They are joined by two other women that are equally terrified of what maught happen to them. In a war zone no one is safe and the abductors and their captives soon realize that no one is safe. 

L to R: Sahiba Arora, Afroza Banu (standing), Zorana Sadiq, 
Michelle Mohammed, Prerna Nehta, Sehar Bhojani (lying down), 
Imali Perera (standing), Anusree Roy, and Muhaddisah. Photo: Dahlia Katz 

It is all a very dramatic story with some marvelous performances but some dramatic problems. The cast are dressed in traditional costumes of different colours for the Hindus and the Muslims. The problem is figuring out the details of who is who and what is happening in the plot development. I am not sure of the names of all the characters and I could not always hear what they were saying. At times, there  is a lack of enunciation sufficiency to follow all the dialogue. That means parts of the plot simply did not register.

We hear the noise of the truck and plenty of boom booms without much context or explanation. You can’t have a war thriller and a situation where the captors and their captives seem to put their differences aside when the external dangers take over and someone demands sex. A woman raises her dress and bends over allowing him to rape her. Some context, please.

One of the women has a gun that she keeps brandishing and near the end a half-naked man brandishing a rifle boards the truck. He is a thug demanding gold and is told there is none and he goes on to conduct a ludicrous body search of all the women. He is a bit of a clown or just an idiot who overacts and is simply annoying. He is named Lovely (Mirza Saehan), the only male in he cast and easy to identify.

The set  by Jawon Kang features the rear door of a truck and large curtains from the top of  the stage envelope scene. We see smoke and hear explosions and rifle shots when the truck door is open. It is simply hellish.

We are grateful to Anusree Roy for writing a play about a pivotal and tragic point at the  end of British rule of India and its incompetent and disastrous division into India and Pakistan. Unfortunately, the production, despite the powerful story of the play, lacks clarity and context.  Director Nina Lee Aquino commits some fundamental errors in not ensuring that all the actors spoke clearly, enunciated and could be heard at all times.

The names of the cast are Arun (Sahiba Arora), Sumaia (Afroza Banu), Bamnn (Sehar Bhojani), Munni (Michelle Mohammed), Pari (Muhaddisah), Heera (Prerna Nehta), Rabia (Imali Perera), Sonali (Zorana Sadiq), Lovely (Mirza Sarhan).

A big disappointment.

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Trident Moon  by Anusree Roy opened on March 7, 2025, continues until March 30, 2025, at the Guloien Theatre, Crow’s Theatre, 345 Carlaw Avenue, Toronto, Ontario.  http://crowstheatre.com/

James Karas is the Senior Editor, Culture of The Greek Press

THE GONDOLIERS – REVIEW OF 2025 TORONTO OPERETTA THEATRE PRODUCTION

Reviewed by James Karas

Toronto Operetta Theatre is wrapping up its 2024-2025 season with Gilbert and Sullivan’s delectable The Gondoliers. The other works that made up the season are The Student Prince and The Countess Maritza. For 2025-2026 we  can expect The Mikado, Czardas Princess and My Fair Lady. We don’t wish to appear ungrateful but in the words of Oliver Twist we want more.

The Gondoliers was Gilbert and Sullivans 12^th operetta and it was a big hit. It has some wonderful melodies, patter songs, ensemble pieces and comic complications, The plot is vintage operetta. The impoverished Duke of Plaza-Doro (Gregory Finney) married his infant daughter  Casilda (Alyssa Bartholomew) to the heir to the throne of the King of Barataria. This is 18^th century Spain and when his majesty went religiously rogue by becoming a Protestant, his infant son and heir to the throne was sent to Venice by the Grand Inquisitor (Austin Larusson). A safe Catholic domain to prevent him from being infected by his father’s apostasy.

Twenty-one years later, The Duke is searching for the heir to the throne, now grown-up who was raised by a gondolier as a gondolier with the gondolier’s son. Get it? We have two gondoliers Giuseppe  and Marco but we and they do not know who the real heir is to the throne and who is the son of the gondolier. In the meantime, Casilda has fallen in love with Luiz (Marcus Tranquilli) and she is not interested in her husband from infancy. And Marco (Yanik Gosselin) and Giuseppe (Sebastian Belcourt) found two lovely girls, Gianetta (Brooke Mitchell) and Tessa (Lissy Meyerowitz) and married them. This is getting complicated and we need someone to identify the real heir, Nurse Inez (Francesca Alexander) who raised the heir knows who is who and we learn of a substitution that will make divorces unnecessary and happiness for all mandatory.

The inimitable Gregory Finney can as usual be counted on for good humour and his representation of the impoverished but proud Duke. He ventures into business as he and and we hope he finds financial security

Soprano Brooke Mitchell as Gianetta and mezzo-soprano Lissy Meyerowitz are well-voiced singers and the pair of wives who “lose” their husband as soon as the wedding ceremony is over. They make a good pair and sing beautifully as individuals. 

Sebastien Belcourt as Giuseppe Palmieri, Yanik Gosselin as Marco.

Photographer: Gary Beechey, BDS Studios

Belcourt as Giuseppe and Gosselin as Marco make the perfect loving husbands of the above two ladies whose honeymoon is cut short before it can begin. The baritone and the tenor do creditable work as singers, lovers, strapping young men  and comic characters as they wait to find out who will become king. There is a surprise waiting for them.

The operetta lists almost twenty musical numbers with an assortment of solos, duets and choruses. There is a generous supply of romantic pieces from “O rapture when alone together (Casilda and Luiz), to “Take a pair of sparkling eyes” (Marco), to “When a merry maiden marries” (Tessa). There are some opportunities for dancing but no choreographer  is listed in the program and Director Guillermo Silva-Marin provided a few steps.

The operetta is set in the eighteenth century and needs fancy gowns, and wigs for the aristocrats and less elaborate costumes for the gondoliers and Contadina (peasant girls)  He should have about a dozen of them (the opening chorus “list and learn” says there are 24 of them) and probably more gondoliers. Silva-Marin sensibly puts it in modern times with costumes provided by a commercial supplier. For a set, he uses some white boxes that can be moved around. Shoestring budget is the message.

The youthful Matheus Coelho do Nascimento, conductor, baritone and clarinetist, conducted energetically the orchestra of a dozen players squeezed around the apron of the stage.

Silva-Marin, the TOT’s Founder and General Director and the Bringer of Operetta to Toronto, directed and designed the lighting for the production. I find it salutary to acknowledge his contribution to Toronto’s cultural life. A cursory reading of this review and, better still, a view of the production, shows that he has to produce an operetta with one hand tied behind his back. The funding is pathetic, the theatre inadequate, the people he can hire for only three performances, limited. He should have, But he does not give up on us. We should not give up on him and TOT.
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The Gondoliers by W. S. Gilbert and Arthur Sullivan is being performed three times on February 28 and March 1 and 2, 2025 at the Jane Mallett Theatre, St. Lawrence Centre for the Arts, 27 Front Street East, Toronto, Ontario. www.torontooperetta.com

James Karas is the Senior Editor, Culture of The Greek Press

MONKS - REVIEW OF CLOWN SHOW AT THE THEATRE CENTRE

Reviewed by James Karas

Monks is a marvelous vehicle for Veronica Hortiguela, and Annie Lujan to highlight their talents as clowns. There is no plot to speak of and the two actors dressed as monks have a bag of gags but rely more on interacting with the audience to elicit wild laughter, sometimes it seems out of nothing. 

One of the cowled ladies appears in the playing area and peers into a barrel. There is a scream (and a full laugh from the audience) as the other monk appears from within the barrel. The first monk points to the other one with her fingers in various configurations expressing surprise or wonder or who knows what and those finger actions and facial expressions have the audience roaring. These monks are clowns and they know how to make people laugh. And that’s just in the first couple of minutes.

In the tiny theatre (my guess, audience fewer than 100 people} the monks will run around the audience, roll on the floor, give us spray bottles to spray them with water and pass out lentils and I can’t remember what else. One of them has a mustache which becomes almost unglued and hangs uneasily from a corner of her upper lip.

They are supposed to be Benedictine monks in a Spanish monastery in 1157, fa la la. They tell us the rules of the monastery where there is no sex and no worldly possessions are allowed. Anyone breaking a rule is shamed by the audience. And the audience is ready to scream shame as many times as the monks direct. I don’t need to state that the audience’s participation is combined with uproarious laughter.

Veronica Hortiguela, and Annie Lujan. 

Photo: Audrianna Martin Del Campo

One of the rules of the monastery is that the monks are supposed to engage only in prayers and work. But these monks prefer to do nothing and the audience agrees with them.

They engage individual members of the audience with questions about what they do and invite one man to the stage. I assume the man who went on stage is not a plant but the monks managed to get a lot of big laughs.

The monks do have a donkey that they prefer to call an ass. The donkey loses its tail, it is found and they want to pin it on its ass. The donkey displays its anatomical appendage where its tail belongs, butt naked, and a member of the audience has to attach it there. You can only imagine the howls of laughter that this provoked. As with all gags, the monks prolong every gesture and milk the joke to its fullest.

At one point they pretend to count the number of lentils that they have and they are up to 8,449,111. As usual they involve the audience in the counting and one would wonder how many laughs can you get from a seven-digit number? The answer is a lot, and as usual they do not let go of it with a mere howl of laughter – they want more and get them.

The show is directed and presented with Sound, Costumes, Set Design, and Props by Veronica Hortiguela, and Annie Lujan. All of it looks simple and extemporaneous. Of course, it is nothing of the kind and the physical exertion alone is worthy of comments let alone the inventiveness and the ability as clowns that got a well-deserved standing ovation.
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Monks by Veronica Hortiguela, and Annie Lujan opened on February 26 and will play until March 2, 2025 at The Theatre Centre, 1115 Queen St. West, Toronto, Ontario. www.theatrecentre.org

James Karas is the Senior Editor, Culture of The Greek Press

FAT HAM – REVIEW OF 2025 CANADIAN STAGE PRODUCTION AT BERKELEY ST. THEATRE

Reviewed by James Karas 

James Ijmas' Ham is a marvellous Pulitzer-winning play that you can catch at the Berkely Street Theatre in a production by Canadian Stage. The title does not refer to unpalatable food from the meat aisle of your grocery store. It refers to Shakespeare’s tragic hero Hamlet who in this play happens to be a generously endowed gay man called Juicy (Peter Fernandes) who is called upon by the ghost of his late father, Pa. (David Alan Anderson) to kill his uncle.

Forget Elsinore because Fat Ham takes place in the backyard in the  eastern U.S. where we find Juicy and his extended family having a barbecue following the wedding of his mother Tedra (Raven Dauda) to his Uncle Rev (David Alan Anderson). We first meet Juicy with his cousin Tio (Tony Ofori) who is absorbed in his cell phone which emits sounds of  heavy breathing and passionate carnal activity. He is watching porn.

If your recollection of the characters in Hamlet is fuzzy, here is a snappy reminder. Tedra is Gertrude, Rev is Claudius, Tio is Horatio, Pap is the Ghost, Opal (Virgilia Griffith) is Ophelia  Larry (Tawiah McCarthy) is Laertes. Rabby (Nehassaiu deGannes) is the mother of Opal and Larry but Shakespeare forgot to include her in his play.   

Back to the beginning Juicy’s  conversation with Tio is interrupted by the appearance of a Ghost and we realize that Fat Ham takes energy from Shakespeare, mimics the characters and spoofs that great play. Although Ijames’ play steals from Shakespeare, Fat Ham has humour and a trajectory of its own. It is a terrific play and entertains us for 90 minutes without an intermission.

L-R: Tawiah M’Carthy, Virgilia Griffith, Peter Fernandes, 

Nehassaiu deGannes, Raven Dauda, David Alan Anderson. Photo: Dahlia Katz 

Juicy is a decent man, a melancholy and depressed gay person who is ordered by his father’s Ghost to kill his Uncle Rev, a restauranteur and a preacher. Rev did not kill his brother directly. Pa was a louse and a murderer and was snuffed while in jail but was everything instigated by Rev? Juicy is studying Human Resources on-line on his desktop (not laptop) computer at a disreputable university. Fernandes dressed in black is superb as a lost and confused soul. He knows Shakepeare’s play and recites parts of several soliloquies and sings for us. 

The three women in the play are sexually alluring, and well-dressed because they are attending the wedding of Rev and Tedra. Raven Dauda as Tedra relishes the exposure of her chest, her short skirt and blonde hair. You may consider her a bit of or, a complete slut. She sings and dances for our amusement. Her first husband was abusive and she turned to his brother for comfort, Dauda does a superb job as Tedra.

Opal is unhappy wearing a dress for Tedra and Rev’s wedding and she is gay. Rabby is a former stripper and ready to display her attributes.

Larry is a smartly dressed, gay and bemedalled soldier with the vocabulary of a preschooler. He develops an interest in his cousin Juicy but is rebuffed. Tio (Tony Ofori) the porn lover is a lovable goof. He insists he is not gay but has some interesting fantasies.

The set by Brandon Kleiman represents a backyard decorated with Christmas lights and streamers with a large, smoking barbecue. It is a wedding day and those that went to the ceremony are dressed for the occasion. It is a festive day except for what happened the week before when Pap was done away with and when the arguments come flying and there is a vigorous fight.

The active atmosphere from physical acts to verbal jousting are handled with precision and sensitivity by director Philip Akin.

Fat Ham is a multi-layered play dealing with a dysfunctional family with many underlying issues. There is wonderful humour but the family manages to descend to a physical free-for-all and, unlike the dead  body-strewn end of Shakespeare’s play, survive.  

A well-done production of a very good play that is worth seeing without any hesitation
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FAT HAM by James Ijames continues until March 16, 2025, at the Berkeley St. Theatre, 26 Berkeley St.  Toronto, Ont.  https://www.canadianstage.com/

James Karas is the Senior Editor, Culture of The Greek Press

BLIND DATES – REVIEW OF 2025 PRODUCTION AT PASSE MURAILLE

 Reviewed by James Karas

Blind Dates by Vivian Chong has the double meaning of going out with someone you have never met and, in her case, being literally blind as well. This is a one-woman performance by Chong at the Theatre Passe Muraille’s Extra Space  in which she tells us stories about being blind and especially about dating a variety of men and other experiences. She narrates with humour, tenderness, poignance  and gumption.

Chong describes herself as “an artist, potter, sculptor, painter, singer, song writer, playwright, theatre creator, actor, dancer, drummer, film maker, comic book author, yoga instructor, tri-athlete.” We will assume that she finds time to eat and sleep. She lost her eyesight fifteen years ago and she appears on stage with a white cane to tell her story and sing for us.

There is no hint of self-pity about her condition as she ventures to meet people, go out on dates, look for a job and function as an artist. She tells us about going out on a date with Barry who seems like a nice guy but turns out to be a collector of blind people. They have a bonfire and she tries to develop a relationship with him but it does not work out.

She dates several other men including Paul with whom she goes to Italy. He wants to have sex with her underwater and she beats a fast retreat from him. 

Vivian Chong in Blind Dates. Photography by Jae Yang

She looks for a job and a recruiter examines her abilities, likes her voice and suggests that she become a telemarketer or an on-line sex worker. Oops.

Vivian Chong is smart, talented and fearless. She paddles for several kilometers in Lake Ontario with her friend Jeff, a kayaker, and seems to have found a kindred spirit.  

She sings five songs that she has written. They have simple lyrics that describe her state of mind at the time and perhaps describe relationships. In “Cabin Fever” she finds a smoky, quiet cabin, a refuge where she sleeps in the shadows hoping someone will come her way. In “One Blue at a Time”  she walks her talk and speaks honestly but he is gone. In “Self-Made Woman” she asserts her strength and independence and sends him away as she looks to a brand-new day in a brand-new world.

Finally, there is fulfilment and happiness in a new relationship in “When We Met Starts”. Her life gets easy, the clouds part, she has met her best friend.  Finally, they are kissing, hugging and spending time together and she finishes the song with the prospect of sexual fulfillment as she looks forward to falling in love with him tonight.

Chong is a good storyteller and can modulate her voice when she relates conversations with people. She makes good use of the small playing area of Theatre Passe Muraille Backspace and keeps the audience’s attention throughout. That is no small achievement in a solo performance with some prerecorded music for the songs and the rust being entirely up to her.

The set is designed by Echo Zhou  and consists of a grass-covered couch with a table and keyboard behind it.

Theatre Passe Muraille’s  Artistic Director Marjorie Chan directs the performance and she dramaturged the play which, she told us, had two-year gestation period. It is worth seeing.

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Blind Dates by Vivian Chong opened on February 20 and will run until March 9, 2025, at Theatre Passe Muraille, 16 Ryerson Avenue, Toronto, Ontario. www.passemuraille.on.ca 

James Karas is the Senior Editor, Culture of The Greek Press

PEOPLE, PLACES AND THINGS – REVIEW OF 2025 COAL MINE THEATRE PRODUCTION

Reviewed by James Karas

Do you want to see great acting? I do not use the word great lightly and if the answer is yes you should go to the Coal Mine Theatre in Toronto and see People Places and Things with Louise Lambert. More detail below.

People Places and Things is a powerful play by Duncan Macmillan about Emma, an actor who is seriously addicted to drugs and alcohol. She goes to a rehab centre looking for a quick fix and a letter saying that she is capable of working. She finds out that a rehab program would take weeks, perhaps longer where she must submit to group therapy and honesty. There are half a dozen other addicts at the center as well as a therapist and doctor, and Emma’s parents.

Emma’s addiction causes her to be aggressive, arrogant, unsocial and angry. Lambert goes through the gamut of these emotions or states with incredible power and display of emotions. She hallucinates and five other “Emmas” appear on stage and imitate her steps as the lights flicker. It is hallucination perfectly illustrated. She reaches excruciating emotional levels, excruciating for Lambert and the audience.

Fiona Reid plays the doctor and therapist as cool-headed and efficient professionals who know what they are doing and make the demands of what is expected for rehabilitation to work. Reid and Olive Dennis also plays Emma’s parents. their daughter’s addiction seems to have caused a deep rift and her attempt at reunification is unsuccessful.

Dennis also plays Paul, one of the patients and he appears as a loud, half-naked and obnoxious addict who runs deliriously around the stage. The other adducts are a varied if deeply damaged group  of people who give an outstanding job of ensemble acting. They are Nickesha Garrick, Farhang Ghajar, Matthew Gouveia, Sam Grist, Sarah Murphy-Dyson, Kwaku Okyere and Kaleb Tekeste.

L to R) Matthew Gouveia, Nickeshia Garrick, Kaleb Tekeste, 
Kwaku Okyere, Louise Lambert, Oliver Dennis, Fiona Reid, 
Farhang Ghajar, Sarah Murphy-Dyson, and Sam Grist. 
Photo: Barry McClusky

The tiny Coal Mine Theatre has seats on two sides of the house with a small playing area in the middle. There are chairs, stools and other pieces of furniture brought on and taken off by the cast as needed. Steve Lucas is the stage designer. There is rich and varied use of lighting to indicate the emotional trauma of the characters. The Lighting Designers and Lighting Programmer are Bonnie Beecher and Jeff Pybus.

Movement Director Alyssa Martin handles the complex actions of the cast in the playing area, on and off the stage and bringing on and removing props. It looks like a complex operation, especially in a theatre that is small with very few places to go to. It is as much choreography as movement direction and is marvelous work.

The cumulative effect is like being struck with a tsunami of trauma and emotion. Lambert’s stunning performance along with the rest of the cast grabs you and holds you in thrall for the duration of the performance. This is rare and  extraordinary theatre.

Director Diana Bentley displays stunning directorial talent in putting a complex show together and instilling the enormous discipline required to bring to maintain the high emotional pitch throughout. A great production.
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People, Places And Things by Duncan Macmillan continues until March 7, 2025, at the Coal Mine Theatre, 2076 Danforth Ave. Toronto, (northwest corner of Woodbine and Danforth). www.coalminetheatre.com/

James Karas is the Senior Editor, Culture of The Greek Press