Tuesday, December 31, 2019


Reviewed by James Karas

It’s the holiday season including the celebration of a new year, a new decade and a farewell to 2019. How about some light and civilized entertainment?

No, I did not mean that.

I mean something lively, indeed boisterous, civilized, with beautiful music, gorgeous melodies, a visit to another world and, of course, a happy ending. And something you may not have tried for long time. How about an operetta?

Toronto Operetta Theatre delivers a production of The Gypsy Baron by Johann Strauss II that meets all of the above criteria. There are some limitations to what TOT can do but more of that below. In short, this is an enjoyable production with some fine signing by the chorus, superior singing by the women in the key roles and mostly good stuff by the male singers. 
 The company of The Gypsy Baron. Photo: Gary Beechey
The operetta takes place in Hungary and Vienna sometime in the past – that is another world. Director and Designer Guillermo Silva-Main makes no effort to give us a precise date or century and we do not need it. (There is a number of historical events mentioned that will give you a more precise chronology, but get a life. This is operetta)

The plot involves Barinkay who is returning to claim his father’s estate. He meets Zsupan the crooked pig farmer who has helped himself to parts of his estate but has a pretty daughter named Arsena. Barinkay proposes to her but she rebuffs him because she has eyes only for Ottokar.

In the meantime, Arsena’s governess Mirabella finds her long-lost husband who happens to be the Royal Commissioner Carnero. Barinkay finds the beautiful gypsy girl Saffi who we think is the daughter of the lively, fortune-telling gypsy Czipra but keep an open mind. Complicated, no? Well, the men will go to war, come back heroes and Governor Homonay will drop in near the end to tie up all the plot strands and provide a happy ending for us all.

That is the plot of an operetta. I could not understand all the lyrics as the chorus was singing but they did a marvelous job. You want to hear military music, a waltz, polka, love duets and generally delightful music, Strauss never disappoints. Much of it is quite familiar even if you did not place it the other times that you heard it.

Derek Bate conducted the 12-piece orchestra lined up in front of the stage of the Jane Mallett Theatre. The limitation of the seating area and number of players of the orchestra are obvious. A decent pit and two or three dozen musicians would be preferable, of course. The real delight is how well they played and the marvelous music they gave us.

There is very little in the way of a set. A few chairs and settees, some flowers, are pretty much used for the scene in Vienna. A few platforms are all that you get in the first scenes. The costumes are from Malabar but they are more than adequate for the job. Those are the limitations that TOT has to live with.

The Gypsy Baron provides ample opportunities for comedy, dancing and fine singing. TOT does not have the wherewithal to do all of these things but it does have some excellent singers. Soprano Meghan Lindsay with her plush, mellifluous and simply lovely voice makes a splendid Saffi, the “gypsy” that Barinkay loves. She outsings everyone. 
Meghan Lindsay and Michael Barrett. Photo: Gary Beechey
Mezzo soprano Beste Kalender sings a Czipra that is full of voice and life and a delight to hear and watch. Soprano Daniela Agostino is a spunky and well-sung Arsena. Mezzo soprano Karen Bojti sang a spirited and matronly Mirabella, Arsena’s governess. 

The male singers were generally not as successful as the women. They had more limited ranges but were quite expressive. Tenor Joshua Clemenger did well singing the pig farmer Zsupan but he missed the opportunity for comic acting. Zsupan could be acted as a broadly comic character. Baritone Austin Larusson was properly wooden as the self-righteous and puritanical protector of morals, Royal Commissioner Carnero.

Tenor Michael Barrett as Barinkay has a big voice with a sturdy midrange but he did not display a huge a range. Edward Larocque as Ottokar has the same issue.
Guillermo Silver-Marin, the company’s General Director and the Stage Director of the production reminds us that TOT is the only professional operetta company in Canada. That’s bad enough but the fact that it is inadequately funded (to put it politely) is a disgrace.  
The Gypsy Baron  by Johann Strauss II is being performed between December 28, 2019 and January 5, 2020 at the Jane Mallett Theatre, St. Lawrence Centre for the Arts, 27 Front Street East, Toronto, Ontario. Tel:  (416) 922-2912. www.torontooperetta.com

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

Thursday, December 26, 2019


Reviewed by James Karas

Present Laughter is one of Noe Coward’s best comedies and is centered on the life of a matinee idol, Garry Essendine. He is a supremely successful theatre actor in 1930’s London. Essendine is flamboyant, egocentric, outrageously popular and pursued assiduously by women.  He is partly a self-portrait of Coward but there is a small inaccuracy. Coward was a homosexual and in the original play Essendine is vigorously heterosexual.

Director Matthew Warchus has decided to set the record and the play straight in his production at the Old Vic by revamping the plot and presenting Essendine a practicing homosexual, perhaps bisexual. Needless to say, he takes some liberties with the text to do that. 
 Andrew Scott as Garry Essendine and Indira Varma as Liz Essendine. 
Photo: Manuel Harlan
In addition to his household staff, Essendine (Andrew Scott) has a wife, Liz (Indira Varma) from whom he is separated and three friends. His household staff includes Monica Reed, his efficient secretary who has a high human quotient and is played superbly by Sophie Thompson. He also has the amoral butler Fred (Joshua Hill), an eccentric house keeper in Miss Ericson, overplayed by Liza Sadovy who also becomes the even more eccentric and wheel chair-bound Lady Saltburn.

In the original play, Essendine’s friend Joanna is married to Henry, has an affair with Morris and seduces Garry in his posh apartment. She is found in his apartment the morning after the night before to hilarious effect as she tries to conceal what had happened.

In Warchus’s version Joanna (Enzo Cilenti) becomes Joe who is Helen’s (Suzie Toase) partner but is having an affair with Morris (Abdul Salis) and is in love and having an affair with Garry. Warchus does not shy from explicit physical contact between the men and, if nothing else, the play has the authenticity, we presume, it would have had if homosexuality was not only spurned but was a criminal offence when the play was written.

Coward’s homosexuality was known among his friends but he did not dare disclose it openly for good reason. In 1953 the great John Gielgud was convicted of a homosexual encounter in a public washroom.
Kitty Archer and Andrew Scott in Present Laughter: Manuel Harlan
Scott as Essendine is expected to be flamboyant and overact. As he himself admits, it is impossible to tell when he is acting and when he is not. The problem with Scott is that he overacts at overacting. Essendine is supposed to be self-conscious about aging and about losing some hair. Scott is muscular (Warchus makes sure we see that), very youthful and certainly not losing any hair.

Many of the characters in the play are in extremis or driven to it by Garry. His wife Liz is calmly and wonderfully funny. Luke Thalion as the lunatic playwright Roland Maule is hilarious and Kitty Archer as the would-be actress Daphne is entertaining.

Present Laughter is a superb light comedy. Changing it into a homosexual one may be of some interest as reflecting Coward’s sexuality but we are not watching a documentary about the author’s life. This is a display of directorial freedom that does not make the play better or funnier. Sometimes leaving what is good enough alone is good enough.
Present Laughter by Noel Coward in a production by the National Theatre played originally at the Old Vic, London and was shown on December 4, 2019 at select Cineplex Cinemas across Canada.  For more information: www.cineplex.com/events   

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

Wednesday, December 18, 2019


James Karas

Cash Me If You Can is a one-man show in which a non-actor tells his story about depositing a non-negotiable cheque from one of those get-rich-quick snake oil sales companies. Stop yawning. It is a terrific show that succeeds on all counts including the completely unexpected.

A few facts. Patrick Combs, a young San Franciscan, got a junk-mail letter which contained a cheque for $95,093.33. As a joke, he deposited the cheque and waited for it bounce. Days went by and the money remained in his account. He made inquiries, told friends, asked lawyers, worried about having committed fraud but the money stayed in his account.

He never seriously considered keeping his mouth shut and spending the money which he probably could have done. He told the bank and its lawyer about what had happened and he asked the bank for an apology for its incompetent and idiotic behaviour. He told his story to the Wall Street Journal and other media outlets. He got a lot of attention including heavy-handed threats from the bank’s Mafia-like enforcer and representatives.
The incident from the deposit of the cheque to final resolution of the problem took about six months in 1995. If you want precise dating, the incident came to an end the day the verdict in the O.J. Simpson trial was announced.

Combs took the incident and created a brilliant, touching, funny and resoundingly successful show which has finally reached Toronto. He is the writer, director and performer of the show and its success is well deservedly. It is the type of feel-good show that is an amazing example of human decency and resilience that makes superb theatre as well.

Combs if a great story teller. He knows how to pace his performance, involve the audience, build up suspense and do a bang-up job with the punch lines. The outline of the story sounds unprepossessing but the structure and performance by Combs makes it utterly successful.

Can you deposit a cheque that is marked clearly “non-negotiable” and expect the bank to honour it? It should be an easy question to answer but it is not. Combs goes to legal libraries, finds a foot-thick legal treatise (without a table of contents) and tracks down the author of the book. What is the answer? Combs keeps us in suspense (and laughter) until he gives us the answer. That is a good example of how he makes the performance work.

He makes very good use of video projections that provide illustrations and humorous cartoons and he rarely stays still.

You will ask yourself, why does he not spend the money when he can and keep his mouth shut? Why does he not keep the money and his mouth shut? These and many other questions will occur to you during the performance and afterwards. I have all the answers. Go see the show and tell me if you do as well.
Cash Me If You Can by Patrick Combs, produced by Horse and Hound Productions, continues until December 21, 2019 at the Marilyn and Charles Baillie Theatre (aka Berkeley Street Theatre) 26 Berkeley Street, Toronto, Ontario. www.canadianstage.com

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

Sunday, December 15, 2019


Reviewed by James Karas

If you went to church, specifically to the court chapel of Johann Georg II of Saxony in Dresden, on Christmas day in 1660, you would have found a surprise waiting for you. Instead of the reading from the gospel, you would have been treated to a musical setting of parts of the New Testament by Heinrich Schutz.

Since you obviously did not go to church on that date, The Toronto Consort has decided to give you a Christmas gift, a musical bouquet, by performing Schutz’s Christmas Story and several other musical settings of the Gospels in the Jeanne Lamon Hall of Trinity-St. Paul Centre in Toronto.

The Toronto Consort offers more than the Christmas Story. The concert opens with seven shorter pieces, four by Schutz, two by Johann Herman Schein and one by Hans Hassler. All three were 17th century German composers.

The programme opens with Schutz’s “Lobet den Herrn” (praise ye the Lord) and continues with Schein’s “Verbum caro factum est” (The Word was made flesh). We hear “Quem vidistis pastores” (Whom did you see, shepherds) twice in settings by Hassler and Schein.
Toronto Consort. Photo: Bruce Zinger
The first half of the programme concludes with the spirited “Alleluja! Lobet den Herren,” a beautiful setting of Psalm 150 by Schutz.

Fallis conducts the Toronto Consort on original instruments that are a delight to hear. He also plays the organ in the Christmas Story.

English Tenor Charles Daniels is the featured artist. He is an expert in baroque music and has an extensive discography. He did most of the singing which consists of biblical passages in recitative.

The Christmas Story consists of an Introduction seven Intermediums (interludes) and a conclusion. After the Introduction of the subject by the chorus (the birth of Jesus as told by the Evangelists) the Evangelist (Daniels) tells the story of the decree of Caesar Augustus that forces the pregnant Mary and Joseph to go to Bethlehem for tax purposes. There is no room at the inn and we know the rest. The recitatives are not particularly taxing and Daniels handles them well.

Soprano Katherine Hill sings the Angel who delivers to the shepherds the good tidings of great joy and informs them of the place of His birth.

The chorus as the multitude of angels sings the beautiful “Glory to God” and the shepherds (members of the chorus, of course) set out for the manger. The Evangelist recites the story of the Magi and they sing and we hear the story of their visit with the nasty King Herod (an impressive Joel Allison).

Schutz includes the story of Joseph and Mary’s escape from Bethlehem before the execution of all the children by Herod.
It was an enjoyable concert of infrequently performed works. The timing could not be better and, under the circumstances, the church setting almost transcendent. There are a few small issues. The chorus did not always enunciate the German lyrics. Enunciating German in the biblical settings may be like having teeth fall out of your mouth but pronunciation was not perfect. The balance between singers and musicians was not always as good as it should be. At times some of the singers were difficult to hear or simply overwhelmed by the instrumentalists. Some ironing out was required in both areas.

The faithful in the court chapel in Dresden in 1660 no doubt expressed their Christian devotion, celebrated the birth of the Nazarene and exalted our Lord Christ who through his birth enlightened us and through his blood redeemed us from the devil’s power. Or so Schutz tells us in the Conclusion of his Christmas Story. I don’t think David Fallis and the Toronto Consort harbored such ambitions for the audience but listening to them in the beautiful setting of Trinity-St. Paul’s was decidedly delightful and uplifting.    
CHRISTMAS STORY by Heinrich Schutz with works by Johann Schein and Hans Hassler was performed December 13, 14 and 15 at Jeanne Lamon Hall, Trinity-St. Paul Centre, Toronto, Ont. www.TorontoConsort.org/
James Karas is the Senior Editor - Culture of The  Greek Press

Monday, December 9, 2019


Reviewed by James Karas

Holiday Inn is a grand movie from the heyday of musicals. With music and lyrics by Irving Berlin and stars like Bing Crosby and Fred Astaire, it could hardly go wrong and it didn’t. That was in 1942. In 2016 a musical based on the movie opened on Broadway and now the Shaw Festival has staged it in Niagara-on-the-Lake as part of its Holiday Season.

One cannot argue with the choice. The plot of Holiday Inn may be wafer-thin but the music, songs, dancing, comedy and glitz are a sheer pleasure. White Christmas, Easter Parade, Cheek to Cheek, It’s a Lovely Day Today are milestones in American popular music.

The plot? Well, Jim (Kyle Blair), Ted (Kyle Golemba) and Lila (Kimberley Rampersad) are friends and a song and dance trio performing in New York. Jim loves Lila and he wants to chuck show biz for the simple life on a farm with her. Manager Danny (Jay Turvey) finds a booking for them and Lila goes to perform with Ted. She promises to return to Jim. Guess what?

Jim goes to the farm and meets the beautiful Linda (Kristi Frank), a teacher who gave up showbiz and whose farm the bank sold to Jim. Louise (Jenny L. Wright) is an energetic and entertaining handywoman who works on the failing farm.
Kyle Blair as Jim Hardy, Kristi Frank as Linda Mason, Kyle Golemba as Ted Hanover 
with the ensemble of Holiday Inn. Photo by Emily Cooper.
The farm does not do well but the big house on the farm can be saved if it is turned into a Holiday Inn for entertainers. We have holidays like Thanksgiving, Christmas, Valentine’s Day, Easter, and 4th of July which employ a lot of entertainers and they need some place to crash. Things start looking up for Jim and for the audience and with some complications, but also some great songs, dances and glamour, we can be entertained for a couple of hours.

The production has some definite virtues. There are a number of set changes between the farm and the club done with efficiency. There are gorgeous gowns and numerous costume changes that are a pleasure to the eye. Jay Turvey as Danny the manager is hilarious and Jenny L. Wright as the factotum gets very good laughs.

As with any show, one needs a superb cast to bring out its best elements. It is here that the Shaw Festival falls a bit short. The ensemble that sings and dances does reasonably well in the former but falls short in the latter. The disciplined form and rhythm are not always there. Allison Plamondon’s choreography is outstanding and adds greatly to the show. 
Kyle Golemba as Ted Hanover, Kristi Frank as Linda Mason, Kyle Blair as 
Jim Hardy (foreground) and the ensemble of Holiday Inn. Photo by Emily Cooper.
The principals’ singing was decent but unfortunately fell short of the high standards we expect from the Shaw Festival.  

Judith Bowden’s sets were fluid, colourful and quite beautiful in keeping with the spirit of the musical.

Kate Hennig directs the show and must needs take credit for the virtues and responsibility for its shortcomings.

In fairness I should note that the show was well received. The audience applauded faithfully after every number with relatively little enthusiasm at the beginning but by the end their enthusiasm increased and they seemed to be enjoying it fully. When the curtain went down, they gave the cast a standing ovation. 
Holiday Inn by Irving Berlin (music and lyrics) and Gordon Greenberg and Chad Hodge (book) continues until December 22, 2019 at the Festival Theatre, 10 Queen’s Parade, Niagara-on-the-Lake, Ontario. www.shawfest.com.

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

Saturday, December 7, 2019


Reviewed by James Karas


No, really. The Shaw Festival has a Holiday Season in November/December with two productions: Charles Dickens’ A Christmas Carol and Irving Berlin’s Holiday Inn.

You know all about A Christmas Carol, right? The ghost story about Christmas was published in 1843 and I am not aware of any other work of fiction that has established such a dominant place in the Western imagination. It created such an image of a major Christian holiday as the story of Scrooge that is almost as astounding as the transformation of the skinflint.

The Shaw Festival’s version is an adaptation by its Artistic Director Tim Carroll who directed the original production. This year’s staging is directed by Molly Atkinson and the result is a delight.

The adaptation is faithful to the story but there are a number of Christmas carols sung at the beginning, the end and during the 90-minute performance. The production uses puppets and shadow theatre, and is done on a simple set requiring almost no props except imagination.
 The cast of A Christmas Carol. Photo by Emily Cooper
The performance begins on a bare stage with a painted backdrop showing an advent calendar with a church, some buildings and chimneys. Bob Cratchit (Andrew Lawrie) holds a small board and swings to the right and left to “open” and “close” the door to Scrooge’s business establishment. Another actor places a small board on her head and becomes Scrooge’s desk.

The major prop is a four-poster canopy bed which is highly moveable and has curtains that close it off. It will serve as Scrooge’s bed and proves useful throughout.

The ghost of Marley and the three Spirits are imaginatively constructed and very entertaining. Marley’s ghost is an over-sized, headless man with a hat perched above his shoulders. “He” is operated by a couple of actors from inside his clothes and they speak in unison.

The spirit of Christmas past is a delightful Sarena Parmar. The spirit of Christmas Present is a scary man on roller blades (Sanjay Talwar). The spirit of Christmas Future is a frightful creature with eyes bulging under a large sheet scaring the hell of Scrooge. By this time we are ready to be reformed.
 Michael Therriault as Scrooge with the ghost of Jacob Marley in 
A Christmas Carol (2017). Photo by David Cooper.
There is liberal use of puppets from Tiny Tim to Scrooge in one of the scenes. There is also a shadow theatre to show us Scrooge’s happy childhood Christmas. There are some ingenious scenes such as having Scrooge’s nephew Fred (Peter Fernandes) and his wife Emily (P J Prudat) wear hats with drinks on top.

Michael Therriault as Scrooge heads the fine cast of ten actors. Patty Jameson plays Mrs. Dilber, Marla McLean plays Mrs. Cratchit and is responsible for movement and is the Puppetry Captain. The cast takes on roles as they are needed and in the end give us a worthy retelling of a marvelous story that has made its mark on western civilization.

The production is colourful, well-paced, enjoyable and perfect for the season.

Merry Christmas. 
A Christmas Carol by Charles Dickens, adapted by Tim Carroll continues until December 22, 2019 at the Royal George Theatre, Niagara-on-the-Lake, Ontario. www.shawfest.com/

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

Friday, December 6, 2019


By James Karas

Anastasia is the beautiful name of a beautiful Russian princess who was murdered in 1918. Some people would like to believe or pretend that she was not killed and that way we can get a good play, a movie or two and a musical about her. The story of the youngest daughter of Tsar Nicholas II and his wife Alexandra has been around for a while (historians be damned – see below) and playwright Terrence McNally, composer Stephen Flaherty and lyricist Lynn Ahrens have put together a musical that is now playing at the Ed Mirvish Theatre in Toronto.

The story goes that the Grand Duchess Anastasia survived the massacre of her family, suffered from amnesia and went missing somewhere in Soviet Russia. Her grandmother, the Dowager Empress, offered a large reward for anyone who could find her. Con artists entered the picture searching for a suitable candidate and two hucksters, Dmitry and Vlad found a suitable candidate, groomed her and presented her to the Dowager Empress who eventually accepted her as the Grand Duchess Anastasia.

It’s a good albeit familiar plot. Flaherty’s music ranges from the recitative to the melodic but it rarely hits any heights in the latter category. He prefers fast paced numbers that sometimes sound like toe-tapping march music that is easy on the ear. There are some soaring moments but here the problem was clearly with the singers, especially Taylor Quick who replaced Lila Coogan as Anya, the Anastasia of the title. She simply could not generate any vocal excitement.
 Lila Coogan (Anya) & Jake Levy (Dmitry) in National Tour of ANASTASIA - 
Photo by Evan Zimmerman, MurphyMade
The rest of the actors ranged from the adequate to the decent. Exceptional performances were given by Edward Staudebmayer as Vlad and Tari Kelly as Countess Lily. They sang well and did an entertaining comic duet.

Vlad’s cohort in grooming the street sweeper Anya into Anastasia is Dmitry played with enthusiasm and agility by Jake Levy. The heavy but humane Bolshevik Gleb is played by Jason Michael Evans.

With many of the other cast members, one did not care what they said because they looked so great. Check out Brad Greer as Tsar Nicholas II and Lucy Horton as Tsarina Alexandra and their family. It’s just amazing how well you can dress if you have an empire to supply your needs. 

The scenic design by Alexander Dodge was simply gorgeous. We have scenes in the palace in St. Petersburg, the Paris Opera, Leningrad and Paris that were a visual delight. The costumes by Linda Cho are stunningly elegant and Aaron Rhyne’s projections are striking and effective. They all add up to a theatrical feat.

Peggy Hickey’s choreography was fine especially the ballet sequence from Swan Lake which gave us a bit of Tchaikovsky’s music which simply pointed out the difference between the lush classical and Flaherty’s workmanlike composition.

Director Darko Tresnjak handles the large cast, numerous scenes and great deal of activity very well.        

For the factually obsessed and historically minded, take note. In July 1918, Tsar Nicholas II, his wife Alexandra and their five children were executed in in the basement of Ipatiev House in Yekaterinburg, Russia. It was the end of the Romanov dynasty’s 300-year rule over Russia and the beginning of Bolshevik totalitarianism.

That was the end of that chapter of Russian history for those who rely on facts. Soviet denial of the murders led to speculation which led to the belief that the family may have survived in whole or in part. Enter French playwright Marcelle Maurette who wrote the play Anastasia in 1952 imagining that the Romanov’s younger daughter survived (maybe) and was taken to her grandmother who accepted her as such (perhaps).

It was delicious story and the play was widely produced. In 1956 Twentieth Century Fox made a movie with Ingrid Bergman and Yul Brynner and in 1997 it morphed into an animated film and the myth has been kept alive.

In March 2017, Anastasia opened as a new musical on Broadway and it has now been bought to Toronto. If you want more, go see the musical.       
Anastasia by Terrence McNally (book), Stephen Flaherty (music) and Lynn Ahrens (lyrics) continues until January 12, 2020 at The Ed Mirvish Theatre, 244 Victoria St. Toronto, Ontario. www.mirvish.com

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

Wednesday, December 4, 2019


Reviewed by James Karas

Leos Janacek has been recognized as major opera composer of the 20th century. Recognition has not translated in numerous productions but if you try hard enough you will find most of his operas produced now and then around the world. All you need is lots of time and money.

Toronto is not exactly a hub for productions of Janacek’s operas (good luck finding one) but Voicebox: Opera in Concert has stepped into the breach with a concert production of Katya Kabanova. The opera premiered in 1921 in Czechoslovakia and (if you must know) was not touched by the Canadian Opera Company until 1994.

Voicebox: Opera in Concert produces ignored or infrequently produced operas in the Jane Mallett Theatre of the St. Lawrence Centre. Let’s just say not the ideal venue for opera.  One feels that General Director Guillermo Silva-Marin and Voicebox have so many obstacles militating against them that only the attitude of damn the torpedoes propels them to go ahead. If you want another metaphor, think of a boxer going into the ring with one hand tied behind his back.

There was no orchestra, no set and none of the paraphernalia that give a staged production the trappings and trimmings for a full-blooded performance.  

The one and only performance on December 1, 2019 was creditable and worthy. The score was played on the piano by Jo Greenaway who was also the music director. The opera was sung in English in Norman Tucker’s translation with projected English surtitles.

Soprano Lynn Isnar sang the tough role of Katya. She is a woman in a loveless marriage with an overbearing and thoroughly bitchy mother-in-law. Katya yearns for love and her good sense is overpowered by her attraction to Boris. Katya goes from longing, to capitulation, to moments of bliss. She confesses her affair to her husband and goes through a mental deterioration. That is a tough role that must be done with minimal interaction with the other characters and no orchestral support (piano accompaniment is not the same). Isnar does a good job despite the handicaps.

Mezzo-soprano Emiliya Boteva is fine as Kabanicha, the oppressive, man-eating mother of Katya’s husband Tichon (Michael Barrett). She wants her son to love her more than his wife. Boteva spikes her high notes upward as if stabbing someone and her Bulgarian accent adds to her malevolence.

Tenor Cian Horrobin sings a commendable Boris, Katya’s illicit lover. He is oppressed and insulted by his Uncle Dikoj (imposing-voiced Handaya Rusli). Boris and Katya will not do well but Vanya (fine-toned tenor Edward Larocque) and Varvara (lively Stephanie O’Leary) make up a contrasting happy couple.

Singing a translation from Czech to English has its own issues. All the English words do not fit the notes for which the composer wrote the music. At times there are more syllables in English than the music could accommodate resulting in awkward syncopation.    
Silva-Marin is the man who keeps the Toronto Operetta Theatre alive and one can give only credit to his unfailing persistence in providing the city with rare cultural entertainment.

The next production of Voicebox will be Kamouraska by Charles M. Wilson on Sunday, February 16, 2020. One performance only.

If you are interested in the sad production history of Katya Kabanova (and who isn’t) consider these dates. It reached England in 1951 at Sadler’s Wells and Glyndebourne in 1989. The Royal Opera House, Covent Garden did not produce it until 1994. New York’s Metropolitan Opera got around to producing it in 1991 and will use the same production by the late Jonathan Miller in May 2020. The Canadian Opera Company got it in 1994.

That’s in the past. There have been many more productions in the 21st century. Just look for them.
Katya Kabanova by Leos Janacek was performed once on December 1, 2019 at the Jane Mallett Theatre, St. Lawrence Centre for the Arts, 27 Front Street East, Toronto, Ontario. www.operainconcert.com/

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

Tuesday, December 3, 2019


James Karas

The facts please: Cats premiered in May 1981 in London and is one of the most successful and widely produced musicals in history. The catalogue of places where it has not been produced is shorter than the names of places where it has been.

Why do you want to see it? Here is a short catalogue of reasons.

You love cats and you want to see them dressed like human beings (or is it the other way around?) sing and dance up a storm.  You are a misanthrope (no that does not make you a fan of Moliere) and you don’t like people on the stage. After The Lion King there are not many choices where this if offered and you go to Cats repeatedly. 
The North American Tour Company of CATS.
Photo by Matthew Murphy 2019
You don’t like cats and go to see Cats to confirm your animosity to the creatures while secretly enjoying a rousing, rip-roaring musical done by humans pretending to be cats.

You want to warm up to T. S Eliot and assuage your guilt and ignorance about poetry. You were traumatized in high school when you tried to figure out how the evening is spread out against the sky like a patient etherized upon a table in The Love Song of J. Alfred Prufrock. You suffered psychological damage leading to post-poetic metaphors syndrome when you found out that The Waste Land is not a John Wayne movie.

Well, with Eliot’s collection of feline poetry, Old Possum’s Book of Practical Cats, you found something readable and very useful to Andrew Lloyd Webber for his lyrics for Cats. Served with music and memorable melodies, the musical lets you kill two cats (sorry, make that metaphors) in one evening. You can sound haughtier than thou in your literary knowledge and musical discrimination.

You find dialogue interferes with the flow of a musical and Lloyd Webber has obliged you with a written-through approach and provided an extraordinarily rich musical score.

You are a dance aficionado and the music with Gillian Lynne’s masterpiece of choreography (with Andy Blankenbueler) is a choreographic, scenic and athletic marvel. She combines ballet, tap dancing, jazz and modern dances in a tour de force of a performing art.

You want a display of splendour, exoticism, glitz, extraordinary energy and sheer magic. Cats presents a kaleidoscope of these with sheer energy. 
Keri René Fuller as Grizabella. Photo by Matthew Murphy 2019
Your chances, realistically speaking, of convincing St. Peter to open wide the Pearly Gates for you are pretty slim. You are curious about how a tribe of cats chooses one of their group to ascend the upper Heaviside Layer and then return as a new feline. Maybe you can pick up some pointers from the plot of Cats to guide you to a place that has air conditioning, at least.

You don’t like musicals that showcase only “stars” but admire bravura ensemble performances. Cats has a bit of both and a few names from the large cast may be à propos. Keri Rene Fuller as Grizabella, the lady that sings the unforgettable “Memory,” Brandon Michael Lase as the wonderfully-named Old Deuteronomy, Emma Hearn as Bombalurina, McGee Maddox as Rum Tum Tugger and PJ Digaetano as Mistoffelees. “Memory” is the only song sung solo and the rest involve more than one singer or the company. A pleasure to listen to.

Among the crowded list of credits you should notice that Trevor Nunn, one of the top directors of England, directed the original production and it has been kept alive since 1981.
Cats by Andrew Lloyd Webber (music), T. S. Eliot (lyrics) and Gillian Lynne (choreography) continues until January 5, 2020 at the Princess of Wales Theatre, 300 King St. West, Toronto, Ontario. www.mirvish.com/  416 872 1212 or 1 800 461 3333

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

Monday, December 2, 2019


Reviewed by James Karas

Coal Mine Theatre is continuing with its judicious and laudable choice of plays. It does not mean you will like all of them but there can be no arguments about the care taken in their choosing. Between Riverside and Crazy by Stephen Adly Guirgis now playing won the 2015 Pulitzer Prize for Drama and that is no doubt an attention grabber.

Between Riverside and Crazy receives a full-blooded and full-throated production directed by Kelli Fox in the small rectangular storefront theatre on Danforth Avenue in Toronto. There are some issues with the play where subplots appear and then are left hanging and unresolved. The end of the play appears rushed to an inexplicable and unexplained resolution as if the playwright looked at his watch and decided to bring in a quick end.
Jai Jai Jones, Alexander Thomas and Nabil Rajo. Photo: Dahlia Katz 
Walter “Pops” Washington, played with vigour, passion, zeal and some humanity by Alexander Thomas, is a former New York cop who was accidentally shot six times by a rookie. He wants compensation and has raised the stakes for getting it by stating that he was called a “nigger” by his shooter. It is a lie but he has maintained it for eight years. He has a chequered past which is hinted at with few details provided.

Pops lives with several shady characters in his rent-controlled apartment that he is in danger of losing. His son Junior (Jai Jai Jones) is making a living by other means than working. Oswaldo (Nabil Rajo) refers to Washington as his father (he is not) is on parole but he wants to straighten himself out. Junior’s girlfriend Lulu (Zarrin Darnell-Martin) is physically stunning and she wants us to see it all the time. She is studying accounting (sure) and is pregnant (maybe). Her past is also very shady. We have four social misfits and we wonder if there is a way out for them. And what about the rent-controlled apartment?

That is not all. Washington has a couple of “friends” from the police department and both of them are intense, passionate, loud and almost on the edge of emotional breakdowns. We are not fully certain why. Claire Armstrong as Detective O’Connor and Sergio Di Zio as Lt. Caro play Washington’s friends and pay attention to the $30,000 ring that the lieutenant has given to the detective. They go into emotional high gear very quickly and one is not sure if lower emotional intensity may not be more persuasive.
 Sergio Di Zio, Claire Armstrong, Jai Jai Jones, Zarrin Darnell-Martin and Alexander Thomas. 
Photo: Dahlia Katz 
For a good laugh, much mystery and some nefarious activity, Washington is visited by the Church Lady played by Allegra Fulton. She is not so much shady but downright swampy and Fulton makes good work of the role and surprises us more than we anticipate.   
The problem with the play is that some of the scenes are overwritten and pass over from dramatic to melodramatic. Some plot strands, as I said, are vague and left hanging but there is not much that Kelli Fox can do about them except to keep up the pace. She does.

The set consists of Washington’s apartment and here designer Anna Treusch attempts to give a representation of it in the small space of the Coalmine Theatre. The kitchen is on a raised area furthest from the audience. There is a living room just below that and a bed closest to audience. Most of the action takes place in the kitchen and relatively little happens in the bed. The design is awkward and one asks if putting the kitchen closest to the audience may not have worked better.
Between Riverside and Crazy by Stephen Adly Guirgis continues until December 22, 2019 at the Coal Mine Theatre, 1454 Danforth Ave. Toronto, M4J 1N4. www.coalminetheatre.com

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