PRIMA FACIE – REVIEW OF STUNNING PLAY AT GOLDEN THEATRE IN NEW YORK

Reviewed by James Karas 

Prima Facie is an extraordinary play by Suzie Miller that features a stunning performance by Jodie Comer. It is now playing at the Golden Theatre in New York.

The play is about a young barrister who defends men against charges of sexual assault and rape. The barrister is a woman who has risen in that august profession from the lower ranks. The author is British-Australian and the play was first produced in Sydney.  In the opening scene she dons her barrister’s gown and wig (in other words, we are in England) and lets us know that she does not come from a private school or from the moneyed class. She is a brilliant woman who made it to Cambridge University and then law. She has a pronounced cockney accent but she drops it later in the play. A barrister is a lawyer whose practice is restricted to working in the courts.

We are impressed but she really wants to impress us. She brags about her ability to break down witnesses and win cases. She is rather childish in her expression of braggadocio and frankly we do not know where this narcissistic woman in a solo performance without an intermission will take us.

 Jodie Comer. Photo: Bronwean Sharp 

We soon get to the guts of the play. She has consensual sex with a senior lawyer in his office. They go out on a date later and he rapes her.

For the lawyer who stands before a judge and jury and argues cases on behalf of accused men the tables are completely turned. She is now a victim of rape and must give evidence against her violator. She becomes the witness that she bragged about being able to manipulate in the opening scene.

British-Australian Suzie Miller was a barrister until she quit to become a fulltime writer. When she writes about lawyers, trials and witnesses she knows whereof she speaks.

Rain falls on the stage and Tessa the barrister  is baptized into her real role – a victim rather than a defender of perpetrators.

Comer will give us every detail of the rape of Tessa in horrifying detail and describe the failure of the system to defend women and punish men. It is a system that has evolved over centuries, all of it created by men and without much attention or knowledge of the state of the victims.

Comer has us enthralled with the depth of her emotions, the horror of the event and even more so of trying to communicate it to men. It is almost impossible to do it and  statistics illustrate the failure of the system.  Comer’s performance left the audience stunned as she described the torture she went through when raped and afterwards when waiting for the trial and while giving evidence that simply did not transmit her pain because such pain cannot be communicated under the current system.

An insert in the program at the Golden Theatre gives some statistics. In the United States, there is a sexual assault every 98 seconds. There are 735,000 reported rapes in the U.S. and   that represents only an estimated 19% of all rapes that are reported. Of the cases reported only 5% lead to an arrest. There are more statistics and more horrors.

With a resounding standing ovation, the audience paid homage to Suzie Miller, Jodie Comer and director Justin Martin .

Prima Facie by Suzie Miller continues at the Golden Theatre, 252 West 45^th Street, New York, N.Y. primafacieplay.com

James Karas is the Senior Editor - Culture of The Greek Press. This review appearded in the newspaper.

VIERGE – REVIEW OF PRODUCTION OF MUTOMBO’S PLAY AT FACTORY THEATRE

Reviewed by James Karas 

Vierge is a new play by Rachel Mutombo now playing at the Factory Theatre in Toronto. For those who do not know the meaning of the word and think that Greek instead of French should be Canada’s second language, the word is indeed French and it means Virgin. Its use may have something to do with the official language of the Democratic Republic of Congo and the origin of the author and characters of Vierge.

The play has four teenagers of Congolese origin in Canada. Grace (Yvonne Addai) and Sarah  (JD Leslie) are recent arrivals in Canada and they share accommodation with Divine (Shauna Thompson ) and Bien-Aimé (Kudakwashe Rutendo).

They are supposed to be studying the Bible with Divine as the instructor. She is innocent, naïve and eager to instruct them. Grace and Sarah are not interested in Biblical studies and what with hormonal rushes they want to talk about fun and sex, laugh and drink a little at first and then a lot of tequila.

Kudakwashe Rutendo, Shauna Thompson, 

JD Leslie, Yvonne Addai. Photo by Dahlia-Katz.

The evangelical church that they attend has an impressionable and impressive pastor who will have a dominant presence throughout the play even though we never see him. The girls become quite boisterous, laugh uproariously and disclose ugly experiences and suffer worse.

Divine relates a horrifying series of encounters with the pastor. He takes her for apparently innocent rides in his car to help her cope with the ugly reality or her home life. The car rides become a despicable series of groping and sexual assaults that horrify the young girl.

Bien-Aimé has unpleasant experiences to relate and she tells Divine about them. Divine wants to see the pastor to speak to him about Bien-Aimé. She goes to his office after drinking a lot of alcohol and the pastor rapes her. She can recall almost nothing.

Vierge is Mutombo’s first play and it is greeted with well-deserved enthusiasm. It has humour, enthusiasm, drama and tragedy. This is also Natasha Mumba's directorial debut and it shows an uncanny ability to keep four innocent, over-excited and giddy teenagers going through various moods.

The actors perform with vigour and enthusiasm but Divine is the quieter of the four as she tries to keep them focused on their Biblical studies but in the end, she is carried along by her own natural instincts and the energy of the other girls. Rutendo is an attractive girl who has the same stimuli as the others. JD Leslie and Addai are firecrackers full of energy and laughter. Excellent performances by all.

The four characters speak with pronounced accents and I assume they are Congolese. Divine’s and Bien-Aimé’s accents are less prominent than those of Grace and Sarah’s. The programme indicates the presence of a Dialect Coach (Sarah Shippobotham) and I assume she drilled the actors into speaking with  a Congolese accent. I admit to having considerable difficulty understanding the dialogue or following the details of the plot. Unfortunately, I could not get a copy of the script to prepare me for the frequently impenetrable accent. I cannot blame the actors for doing a good job.

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Vierge by Rachel Mutombo continues until Aril 30, 2023 at the Factory Theatre, 125 Bathurst Street, Toronto, Ontario. www.factorytheatre.ca/

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

NEVER THE LAST– REVIEW OF NEW PLAY AT THEATRE PASSE MURAILLE

Reviewed by James Karas

Never the Last is a beautiful play created by Molly MacKinnon and Christine Quintana. The two creators together with Amitai Marmorstein perform the piece which is far more than a simple play. 

First, we have a solo violin concert featuring ten caprices by Sophie Carmen Eckhardt-Gramatté and played by Molly MacKinnon. A statuesque beauty, Molly, aside from some vocalizing, is a silent character. She gives an impressive performance as a violinist and the music she performs is a main part of the play.

The other female character is Sophie the composer, called Sonia in the play and played by Christine Quintana. The play is inspired by the life of Sophie Carmen Eckhardt-Gramatté who was born in Russia in 1899, lived in Europe and Canada and was a prodigious composer.

The third character is Walter (Marmorstein) a young artist. Walter and Sonia met at an art show after World War I and exchanged some sharp pleasantries, fell in love, married and led a tempestuous life in Europe. But this is no ordinary play with Wildean repartee though it does have some of that. Molly, identified only as The Violinist is ever present and instructed by Sonia to play ten caprices. Sonia instructs The Violinist on how to play the pieces and it seems to me that the violinist is Sonia’s alter ego as she steps in and out of the action.

Christine Quintana and Molly MacKinnon 

As much as Sonia’s music is represented by The Violinist, Walter’s abstract art or at least pieces of it are projected on the screen on the set designed by Jenn Stewart and projection designer Joel Grinke.

Walter and Sonia, the painter and the composer, live through the turbulent 1920s and go through the  difficulties of poverty and neglect but this is no sob story. The end of the relationship is truly tragic.

The creators have added movement choreographed by Kayla Dunbar and Sonia sings.

The play is directed with intelligence and expertise by Laura McLean. 

As mentioned, the play is inspired by the real-life story of the marriage of the Russian Sonia and the German Walter Gramatté during the 1920s. It is a tribute to the two people and a display of wonderful creative talent by MacKinnon and Quintana. It is equally a display of fine acting by Quintana and Marmorstein and as mentioned of the fine playing by MacKinnon.

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Never the Last by Molly MacKinnon and Christine Quintana, a Theatre Passe Muraille presentation of a Delinquent Theatre Production, played until April 16, 2023, at Theatre Passe Muraille, 16 Ryerson Avenue, Toronto, Ontario. www.passemuraille.on.ca 

James Karas is the Senior Editor – Culture of The Greek Press. This review appeared in the newspaper.

THE SEAGULL - REVIEW OF SOULPEPPER THEATRE PRODUCTION

Reviewed by James Karas 

The Seagull, auspiciously and ironically enough, begins with the performance of a play-within-a-play by Konstantin (Paolo Santalucia), a young playwright intent on creating a new, unconventional theatrical form. The performance is laughed off especially by Irina (Michelle Monteith), a famous actress and the mother of the playwright. Konstantin is humiliated.

The irony is that the 1889 opening of The Seagull was a humiliating and disastrous premiere for Chekhov to the point where he swore never to write for the theatre again. The splendid irony is that the play opened at the Moscow Arts Theatre in 1898 directed by Konstantin Stanislavski and not only was it a triumph but it marked a monumental change in the history of drama.

Let’s get some of the love interests momentarily straight. The teacher Simeon (Farhang Ghajar) loves Masha. Masha loves Konstantin. Konstantin loves Nina (Hayley Gillis), an aspiring actress who is angry about her life. Nina is in love with the writer Boris Trigorin (Raoul Bhaneja) who is supposed to love Irina. And Paulina (Robyn Stevan), the wife of Leo (Randy Hughson), the estate manager is having an affair with Dr Hugo (Diego Matamoros).      

The romantic triangles are not what the play is about. Like Masha hating her life, the triangles set the tone for life on the estate where these people meet during a summer vacation. They are petulant, depressed, listless, nasty and on the edge of despair. There are no outward reasons for some of the conduct, but gunshots are heard during the performance. Neither shot is on the stage because we are not interested in the individual fates of these people but on a view of all of them and I think on a view of Russian society at the end of the nineteenth century. 

The cast of The Seagull in Soulpepper Production

The fourth act of the play takes place two years later and things have gotten worse. The health of Peter Sorin (Oliver Dennis), the owner of the estate where the action takes place, has continued to deteriorate. Masha married the teacher Simeon, but she still loves Konstantin. The latter is depressed and tears all his writing to pieces. Nina has become a second-rate actress. The whole group leads a life-in-death existence, and the brilliance of the play is Chekhov’s ability to capture the atmosphere and reality of that existence.

The acting is superb. Michelle Monteith is brilliant as the self-possessed actress who may have some money, has a terrible relationship with her son and like her brother Peter’s estate where we find her, she is in the middle of nowhere. Santalucia is excellent as the visionary playwright Konstantin who cannot get his act together either on stage or in love. By the end of the play, he seems to have achieved success in the theatre, but his depression becomes fatal. Gillis plays a sympathetic Nina, a woman who wants to be an actress but fails in everything like the rest of the group. Bhaneja’s Boris Trigorin is cool and successful but lacks empathy for people. His main concern is ideas for his stories. He goes off to Moscow with Nina and dumps her. A terrific performance.

Dennis as Sorin is a retired 60-year-old who is still looking for a life. He feels that he has done nothing with his life. If there is an exception to this depressing crowd it may be Hugo, the doctor in the hands of Diego Matamoros. He seems to have a solid grip on reality.

The set by Shannon Lea Doyle is sparse. A few chairs, a table, the indication of a stage are all the objects needed. The back of the stage is covered by an opaque plastic which can represent whatever you want to imagine.   

The credit for eliciting fine acting and capturing the atmosphere of Chekhov’s play goes to director Daniel Brooks. It is a tough play to do. Chekhov described it as a comedy which it clearly is not but there is room for laughter in-between. Brooks gets some of that without trying to make the production a comedy. The most laughs are garnered when Irene tries to convince Boris to leave the estate and go with her. She unbuckles Boris’s belt, but he lifts her up. She sits beside him and proceeds with manual stimulation, all tastefully done with their backs to the audience, as she speaks to him. There is a crescendo of laughter at the end of her speech when she asks him “you are coming, aren’t you?’ and he replies in a faint voice “yes,” it brings the house down.

The production uses Simon Stephens’ “new version” that he adapted in 2017 for the Lyric Hammersmith Theatre in London. It is done in modern dress with cell phones present. At the opening we hear a recording of “There is no business like show business.”

Stephens tries to de-Russify the play and Englandize it. Some of the characters’ names are anglicised: Piotr becomes Peter, Ilya Shamrayev becomes Leo, Yevgeny becomes Hugo and so on. And only first names, please.    

In the opening line, Masha tells Simeon, in Stephens’ version, that she is angry all the time. In three other translations that I consulted she tells Simeon that she is wearing black because she is mourning for her life. She is depressed. Those are more apt statements than anger.

One may disagree with some details but this a stunning production of a great play.

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The Seagull by Anton Chekhov in a new version by Simon Stephens continues until April 30, 2023 at the Young Centre for the Performing Arts, 55 Tank House Lane, Toronto, Ontario. www.soulpepper.ca

                            

THE HOOVES BELONGED TO THE DEER – REVIEW OF TARRAGON THEATRE PRODUCTION

Reviewed by James Karas 

The Hooves Belonged to the Deer is a new play by Makram Ayache that is now playing at the Tarragon Theatre in Toronto.  Ayache is a queer Arab who has a fertile imagination and considerable dramatic skills that are displayed in his play. Its complex plot deals with a gay Muslim  teenager in western Canada that meets a fundamentalist pastor who tries to covert him to the Christian faith and its strict tenets.

The play begins with the opening words of Genesis altered to read “in the beginning man created God” and then created the fundamentals of Christianity including original sin, the belief that Christ can save us and the conviction that homosexuality is a sin akin to pedophilia.

That tells you very little about the play and I need to expand. The contact between the young Arab boy Izzy, short for Ishmael, (Makram Ayache) and Pastor Isaac (Ryan Hollyman) is central to the story as the Christian befriends the youth and convinces him to adopt Christian values.

(L-R) Ryan Hollyman,, Adrian Shepherd-Gawinski, Bahareh Yaraghi,
Makram Ayache, Eric Wigston, and Noor Hamdi in The Hooves Belonged to the Deer
Tarragon Theatre 2023 – Photo by Cylla von Tiedemann

The play then takes us back to the Biblical creation in the Garden of Eden where we meet Aadam (Noor Hamdi) and Hawa aka Eve (Bahareh Yaraghi). The opening scene of the play is titled Creation and is followed by Exodus and Revelation. The play moves from the Garden of Eden to the present with a scene of Izzy falling in love and having simulated sex with Will (Eric Wigston) to scenes in the life of  Pastor Isaac and his converted Muslim wife Rebecca (Bahareh Yaraghi) and the Pastor’s illegitimate son Jake (Adrian Shepherd- Gawinski). Noor Hamdi appears as Aadam and as Izzy’s father Reza and a nameless character involved in simulated a homosexual encounter with Will.

Ayache wants us to see conversations and fear taking place at the same time in the Garden of Eden of yore and in the present. Shepherd-Gawinski appears as Steve, an athletic youth who described himself as a knight and as perhaps the snake in the Garden of Eden and as the Pastor’s son Jake.

The whole thing becomes complicated and at times even confusing. Ayache tries to cover a lot of ground and a very effective play could be dramaturged into less acreage with the same powerful commentary on Christian and Muslim values and more importantly on human relationships across religious, cultural and sexual principles.

Ayache, in addition to writing the play, takes on the main role of Izzy with superb results. We see a teenager in a small town coming to terms with his sexuality and facing the cultural differences in his world. He faces the powerful influence of Pastor Isaac who comes across as a friend, an opening into the other world of Izzy’s parents. Ryan Hollyman as the Pastor is a powerful and persuasive influence, able to convince Izzy of his friendly intentions and offers of a refuge. We see the Pastor’s other side, his hypocrisy and his fundamentalist evil slowly. Hollyman’s performance is second to none. The rest of the cast, Noor Hamdi, Eric Wigston and Bahareh Yaraghi, deserve unstinting kudos for their acting. 

Director Peter Hinton-Davis with Set and Costume Designer Anahita Dehbonehie do excellent work trying to move the play across its different worlds and keep us in line but I have a feeling they were not entirely successful.

Makram Ayache is a relatively new man on the block and he makes a great impression. We wait for his next play.

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The Hooves Belonged To The Deer by Makram Ayache in a production by Tarragon Theatre in association with Buddies in Bad Times Theatre, continues until April 26, 2023 at the Tarragon Theatre, 30 Bridgman Ave. Toronto, Ontario.  www.tarragontheatre.com

James Karas is the Senior Editor - Culture of The Greek Press. This review was published in the newspaper

THE RESURRECTION – REVIEW OF OPERA ATELIER 2023 PRODUCTION OF HANDEL’S ORATORIO

Reviewed by James Karas 

Opera Atelier is back or should we say resurrected after several years’ enforced sojourn in the Elysian Fields where good people are sent to rest. It has produced George Frederick Handel’s’ oratorio The Resurrection to coincide with the celebration of Easter and it is a vocal and visual delight.

The Resurrection was Handel’s first sacred oratorio and he composed it while in Rome to a libretto by Carlo Capece. He was 23 years old. It was performed fittingly enough on Easter Sunday and Monday in 1708 but not in a church. Even more fittingly perhaps it was performed in the palace of a Marquess and, worse, the role of Mary Magdalen was sung by a female soprano. Both aspects spoke of the theatricality of the piece but, women were not permitted to sing on the stage in Rome at the time and perhaps out of an abundance of caution she was replaced by a castrato for the second performance.

Marshall Pynkoski and Jeannette Lajeunesse Zingg, the Co-artistic Directors of Opera Atelier have given us a beautifully sung and finely staged production of the oratorio at the well-appointed Koerner Hall, Toronto. for only three perfectly timed performances: Holy Thursday and Saturday and Easter Sunday.

The resurrection tells the story of the events after Christ’s crucifixion, in other words on Saturday after His burial while He is in the tomb and on Easter Sunday when he rises from the dead. The oratorio consists of  confrontations, lamentations and celebrations. The confrontations are with  the evil Lucifer (bass Douglas Williams) who is celebrating his victory over the death of Christ but the Angel (Carla Huhtanen) fights back. Mary Magdalen (soprano Meghan Lindsay) and Mary Cleophas (mezzo-soprano Allyson McHardy) mourn the death of the Lord but are comforted by Saint John (tenor Colin Ainsworth)  who assures them that Christ will rise. 

Soprano Carla Huhtanen as Archangel with 

Artists of Atelier Ballet. Photo by Bruce Zinger 

The oratorio ends of course with the discovery of the empty tomb by the two Marys and the celebration of the triumph of our Lord over death and over Lucifer.

With Choreographer Jeannette Lajeunesse Zingg   and the Atelier Ballet present, we are guaranteed liberal but judicious and gorgeous use of dancing. The twelve dancers (including Jeannette) form the army of Angels who confront Lucifer and demand that the gates of Avernus (Hades or Hell) be opened to let the radiance of God dispel the stygian darkness. The dancers appear regularly throughout the production, adding colour and variety. Splendid choreography and dancing.

The set consists of two large and ostentatious bronze stands or lecterns on each side of the stage and two staircases leading to an apex. That is where the Angel will be seen. Centre stage there is a curtained off area where we will see the body of the buried Christ and later the empty one. Set Designer Gerard Gauci has done a brilliant job and he may have received inspiration from the set in the original production in the palazzo which is reputed to have been lavish.

Douglas Willliams as Lucifer. Photo by Bruce Zinger 

Soprano Carla Huhtanen sings the fearless Angel that stands up to the bombastic Lucifer. Dressed in white with a gold tiara, Huhtanen sings beautifully and defends the glory of the Lord with vigour.

Bass Douglas Williams has the juicy role of the pompous and blustering Lucifer. With unruly hair and wearing a black t-shirt, he runs and struts around the stage thinking that he is victorious because Jesus is dead and buried and he is the boss.

Much of the oratorio is taken up with the lamentations of Mary Magdalene and Mary Cleophas. The lineage of the latter is disputable but I choose to believe that she was the wife of the brother of Joseph, the Virgin’s husband. That makes Mary Cleophas Christ’s aunt and the mother of Christ’s alleged “brothers” leaving his mother Mary a virgin. In the libretto Mary Cleophas is referred to simply as Cleophas.

But I digress. Soprano Megan Lindsay and mezzo-soprano Allyson McHardy had the the toughest roles and had to sing the emotionally-draining lamentations. There can be no greater depth of grief than for the torture and death of the Saviour. They recall that even while on the cross when He asked for a drink He was given vinegar. It was that type of emotional level that the two singers had to express and they did. Lindsay has a superb, expressive voice. McHardy has a rich mezzo instrument that is capable of some marvelously low notes.

The two-dozen players of the Tafelmusik Orchestra were conducted by David Fallis and they played Handel’s music superbly.

Happy Easter.   

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The Resurrection George Frederick Handel  was performed three times on April 6 -9 2023 at Koerner Hall in the TELUS Centre for Performance and Learning 273 Bloor Street West, Toronto.

James Karas is the Senior Editor - Culture of The Greek Press. This review appears in the newspaper

LOHENGRIN – REVIEW OF 2023 BROADCAST LIVE FROM THE MET

Reviewed by James Karas

The Metropolitan Opera has a new production of Richard Wagner’s Lohengrin and it has broadcast it around the world live in HD, as they say. It is set in a post-apocalyptic world and is a spectacular and imaginative production that is a great distance from more orthodox stagings. 

Producer Francois Girard and Set Designer Tim Yip show us what is left of the world after the apocalypse. The set in the opening scene shows a big cavern that may be a bomb hole or an abandoned stadium with a large opening  at the top. Everything is bleak and there are some human remains hanging from the edge of the opening. We see the moon in its rotation and the dark colours of the sky.

The people of Brabant that are gathered to see King Heinrich (Gunther Groissbock) are dressed in black and the scene is one of a desperate and desolate world.

In subsequent acts we remain in the same set but the stands of the first act are removed. The black walls look derelict and the signature postapocalyptic set remains even when Lohengrin (Piotr Beczala) and Elsa (Tamara Wilson) go to their “honeymoon suite.”

The singing is generally outstanding with a few contrary comments. Tenor Piotr Beczala has excelled in Verdi roles and has now made the leap into a heavy-weight Wagnerian part. His voice has the power and suppleness for the role but there  are moments when he needs to soar above the chorus and I felt that he fell a notch short of it. I was looking, perhaps unfairly, for an extraordinary  heldentenor and Beczala did not meet that criterion in some moments. Otherwise, he was an excellent Lohengrin.

A scene from Act I of Wagner's "Lohengrin" with 

Piotr Beczała in the title role. Photo: Marty Sohl / Met 

He was not cast as a heroic knight. He wore a plain white shirt and black slacks. No heavy knightly armour, no gleaming sword and no transportation on a boat pulled by a swan. The swan is hinted at in the projections and that is quite sufficient. But in his fight with Friedrich, Lohengrin does not even have a sword. His opponent is defeated magically. 

Lohengrin needs a great Elsa of Brabant, the beautiful, pure and troubled woman who is accused of killing her brother but falls in love with Lohengrin and must observe a simple condition: never ask for the name of her husband. Wilson does a fine job in the lyrical passages but her voice thins out when she attempts to sing high notes with power. I need to qualify this with the possibility that it is the fault of the microphones or the transmission but what I heard was not always top notch. But in the final act, both Beczala and Christine Goerke as Ortrud were simply outstanding. In a performance that was almost five hours, with two intermissions, this was a glorious way to end the afternoon.

The production has much better luck with the villains, Friedrich (Evgeny Nikitin) and Ortrud (Christine Goerke). Bass-baritone Nikitin’s Friedrich is a hen-pecked and insulted villain who can’t do anything right. But Nikitin does a superb job portraying him vocally and theatrically. Ortrud, Friedrich’s nasty and scheming wife, is usually sung by a mezzo soprano but Goerke showed that she can handle the role with aplomb and sing the low notes without a hitch. A stunning performance in every respect.

The relatively minor characters deserve unalloyed kudos for their performances. I start with the stentorian King’s Herald sung by baritone Brian Mulligan, to the commanding King Heinrich sung by bass Gunther Groissbock with splendid sonority.

The Met Opera Chorus was stunning as usual vocally but they had more to do than sing. Costume Designer Tim Yip had designed three-coloured costumes that the choristers could switch to black, green, red or white in unison or in different sections. It was visually stunning as the colours were switched to indicate the different moods or loyalties of the people of Brabant. Yip also designed the unforgettable set. David Finn is the Lighting Designer; Peter Flaherty is the Projection Designer and Serge Bennathan the Choreographer.

Yannick Nézet-Séguin conducted the Met Opera Orchestra and Chorus with exemplary ability and talent.

Francois Girard’s new production deserves the highest praise and should go down as one of the most significant stagings of Lohengrin in the Met’s history.

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Lohengrin  by Richard Wagner was shown Live in HD from the Metropolitan Opera on March 18, 2023 and will be shown again on April 8, 2023, at various Cineplex cinemas. For more information: www.cineplex.com/events/

James Karas is the Senior Editor - Culture of The Greek Press. This review appeared in the newspaper.