THE BIDDING WAR - REVIEW OF 2024 CROW’S THEATRE PRODUCTION

Reviewed by James Karas

Many years ago, I was having lunch with a friend on a busy commercial street in Toronto that had numerous real estate offices. He asked me if I knew any honest real estate agents. We had reason to know many of them and considered probably as many as a couple of dozens of them and I cannot recall finding a single trustworthy gentleman. 

The Bidding War, Michael Ross Albert’s new play, reminded me of the incident and did nothing to improve my opinion of the integrity of the profession. I do not hasten to add that smearing all agents with the same brush is both unfair and untrue but the similarity of their characters as judged long ago and the image presented by Albert are frightfully similar.

The Bidding War is a fast-paced, frenetic and wild comedy that builds up to a hilarious climax in the first act and then cleans up many of the loose strands in the second act. It is an amazing feat of fine acting, speed, plot complications and comedy.

The title comes from the real estate market in Toronto where astronomical prices are paid for houses, sometimes through the method of forcing prospective buyers to increase their offers to purchase to stay ahead of other interested buyers who are doing the same thing.

There are four crooked real estate agents in the play attending the “open house” of a small house that is listed for sale at a mere $1.3 million. By Toronto standards, it is a bargain. The agents are Sam (the super kinetic Peter Fernandes) acting for June (Veronica Hortiguela), one of the owners. He is an over-excited agent with his first listing after two attempts to get his real estate license. Blayne (Aurora Browne) acting for Miriam (Fiona Reid), is a sharp and amoral person who has political and financial ambitions. Greg (Sergio di Zio) is a would-be actor for whom, as for the others, lying comes naturally and  Patricia (Sophia Walker) who tries to appears as honest but is not. Don’t worry about keeping track of who is acting for whom because all the agents have the integrity of a pimp or a street walker waiting for the first man to wave at her.

The chicanery, mendacity treachery and duplicity practiced by all of them will set your head spinning and will probably be always a few steps ahead of what you can figure out. But it is always hilarious. 

( l-r) Steven Sutcliffe as Ian; Sergio di Zio as Greg,; 

Izad Etemadi as Donovan,; Gregory Waters as Charlie. Photoz: Dahlia Katz

The buyers are in a class of their own. The invariably funny Fiona Reid as Miriam does not know the password for her bank account and asks her son to find it on the refrigerator. She is a peaceful woman who is driven to violence and ends up with a broken arm. She is marvelous.

Ian (Steven Sutcliffe) and Donovan (Izad Etemadi) are a gay couple with one of them wanting the house enthusiastically and desperately and the other showing reluctance. They are prepared to use chicanery and the climax of their pursuit is Ian’s collapse. Superb comic acting.

Lara (Amy Matysio)  is seriously pregnant and her husband Luke (Gregory Prest) want a house. But they cannot agree on anything including asking his rich parents to help. The parents suspect that Lara married Luke for his parents’ money -  just to add another complication to the plot.

Charlie (Gregory Waters) is well-endowed physically and financially and has the ego to go with those attributes. He is not represented by an agent and just dropped in to see the open house. The equally well-endowed Blayne and Charlie find that they have something more than that in common and I will not disclose why they visit the basement of the house.

Director Paolo Santalucia must maintain a breakneck pace that increases speed by the minute and builds up to a climactic scene. Make that, fight. The actors have to move and speak at a very brisk pace that is at times so fast it is incomprehensible, especially before the enthusiastic opening night audience. The performers carry us through with amazing aplomb despite some minor hiccups.

The complications keep mounting until the end of the first act. The second act is the denouement where we find out who had the highest bid and the fallout of the fights and complications of the previous act. There are a lot of loose ends to tie up and Albert may be in a hurry to do it. So be it. This is a hilarious play, funny, fast, well done and superb production for Crow’s Theatre.
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The Bidding War by Michael Ross Albert continues until December 15, 2024, at the Guloien Theatre, Crow’s Theatre, 345 Carlaw Avenue, Toronto, Ontario.  http://crowstheatre.com/

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

THE LION KING – REVIEW OF 2024 PRODUCTION AT PRINCESS OF WALES THEATRE

Reviewed by James Karas 

Is there an insatiable appetite for The Lion King? It’s a musical that has been seen by more than 110 million people according to Mirvish’s  program for the current production at the Princess of Wales Theatre. But clearly there are people in Toronto who have not seen it or want to see it again.

The question parents need to answer: have you taken your nine-year old (give or take a few years) to see The Lion King? This is not an idle question.

You may think it is a show about the struggle for power, usurpation, displacement of a legitimate ruler by an evil sibling, attempted assassination, despoilation of a community and, eventually, restoration of peace and legitimacy. These are the Trumpian lies that you can tell your children if you want to scare them from wanting to see The Lion King. Make sure you use the suggested big words to help you get away with it. But remember that someone will eventually punish you. But who? 

If you want to evade retribution, you may choose veracity over mendacity or, more plainly,  tell the kids the truth.  

Tell them that they will walk into a theatre where there is palpable excitement in the air before the show begins. Youngsters and adults alike will react with noises. screams and laughter, yes, excitement throughout the performance. In other words, they will experience the communal joy and  magic of live theatre.

They will see a large cast of characters, make that jungle animals, come running down the aisles from the back of the theatre onto the stage. Yikes. They are unexpected, startling and spectacular.  The stage will be filled with animals from lions to a giraffe, to zebras and  hyenas.

 

David D"Lancy Wilson as Mufasa. Photo: Matthew Murphy

There is a plot, of course. Mufasa (David D’Lancy Wilson) is the wise, benevolent lion king who has a nasty, ambitious and creepy brother, Scar (Salvatore Antonio). He wants to dethrone him. Mufasa has a faithful companion and advisor in Zazu (Will Jeffs), a red-billed hornbill and a young son, Simba, (a lively Ira Nabong) who is prone to misbehaving. Mufasa wants to teach him to be a future wise ruler. But Mufasa dies in a freak “accident” and Scar takes over with the help of the creepy, cackling hyenas starring Shenzi (Jewelle Blackman), Banzai (Joema Frith) and Ed (Simon Gallant).

Young Simba is thrown out of the kingdom and goes through some adventures, some great laughs and the spectacle on stage continues. There are lessons to be absorbed by the young about growing up, learning and accepting responsibility, but don’t tell them that. That’s the boring and subliminal part of the plot.

The wise baboon Rafiki (a ball of fire and energy called Zama Magudulela) opens the show with “The Circle of Life” with the ensemble on Pride Rock, the symbolic throne of Mufasa and then the adult Simba (Erick D. Patrick). The spectacle ends triumphantly on Pride Rock with a reprise of “The Circle of Life” in a rousing and satisfying rendition by the ensemble that was kept busy throughout the performance.

Timon (Brian Sills) the meerkat and Pumbaa (Trevor Patt) the warthog are a hilarious and loveable duo who sing the unforgettable and best known song of the musical “Hakuna Matata” but there is a myriad of marvelous songs for individual characters, but they are almost always accompanied by the ensemble. 

The important part is the sheer spectacle that generates the excitement in the audience. The animal kingdom is brought on stage in brilliant, imaginative, entertaining, colorful ways. There are quiet moments, of course, for people to catch their breath and parts played for comedy but the spectacle, the music and singing are not far off to keep the frantic and wonderful pace. The production uses the entire theatre when possible. Watching the amazing costumes that the actors wear and the way they manipulate the animals is alone a marvel.

There is a small army of behind-the-scenes people to bring the show to life but I will mention only director Julie Taymor who has almost countless pieces to handle to bring the whole show together. Elton John and Tim Rice are credited with the music and lyrics but there are five more people who provide “additional music and lyrics” including the director, Julie Taymor.  The Disney organization sure knows how to put a show together.

Oh, yes. Who might punish you if you do not take your youngster to The Lion King? The Furies will appear to you at night and torture your conscience for the offence of omission. You will have to find a temple dedicated to the goddess Athena and beg for absolution!
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The Lion King, music and lyrics by Elton John and Tim Rice with additional music and lyrics by Lebo M. Mark Mancina, Jay Rifkin, Julie Taymor, and Hans Zimmer, book by Roger Allers and Irene Mecchi opened on November 10, 2024, and continues at the Princess of Wales Theatre, 300 King St. West, Toronto, Ontario. www.mirvish.com

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

A CASE FOR THE EXISTENCE OF GOD – REVIEW OF 2024 COAL MINE THEATRE PRODUCTION

Reviewed by James Karas

A Case For The Existence Of God is another superb production by Coal Mine Theatre. God is never mentioned and if there is a case for His existence it is left to our imagination or perhaps a scene in the play. Thank God.

Samuel D. Hunter’s play has two characters and it builds on their lives, their hopes and aspirations, their past relationship, their evolving friendship and eventual fate. Hunter modulates the plot and we see the players in dramatic and humorous scenes that make for   wonderful theatre. 

The play’s two characters are Keith (Mazin Elsadig), a Black homosexual mortgage broker and Ryan (Noah Reid), a working-class man looking for money to buy a piece of land. We are in Twin Falls, a real city of about 52,000 inhabitants in south Idaho. (It’s real and I checked it on Google). And I may add that Hunter comes from Idaho.

The two men come from different worlds. Keith is an educated son of a lawyer who has travelled and after getting a degree in Early Music and English literature ends up as a mortgage broker. Ryan is going through a divorce with a fight for custody and wants to buy a parcel of land that was in his family a century ago. He wants to build a house.

The play is built around a few scenes that change quickly and seamlessly with almost no indication of the change but you can tell that it happened from the context. The set by Set and Costume Designer Nick Blais represents a pleasant if sparsely decorated office with a desk and two chairs where Keith is trying to find a mortgage for Ryan who has a bad credit rating, no assets and lies about having a job.

Mazin Elsadig, left, and Noah Reid in 
A Case for the Existence of God. Photo: Cylla von Tiedemann

 The play reveals the backgrounds of the two men and we learn that despite their social and educational differences, the men have many points in common. Ryan is fighting for custody of his daughter and Keith has gone into fostering a child to be able to adopt her. He runs into a problem when an aunt of the child appears and claims the right to the child. The two watch lovingly the little girls playing in playground in a scene that is moving and humorous.   

Elsadig and Reid act superbly. Elsadig, being black, gay and the son of a lawyer comes from a well-heeled family that provided international travel. Despite having a university degree, he ends up as a lowly mortgage broker and he is aware of his lack of achievement. He has failed to adopt a child and even the fostering route seems to be headed for failure. Elsadig shows Keith’s subliminal and obvious feeling of a failure and he cannot establish a friendship with Ryan. 

Reid as Ryan has a failed marriage and the probability of getting limited access to the daughter that he adores. He is aware of his lack of education (“harrowing” is a big word and unknown to him), and that he comes from a broken family He understands nothing of the process of buying and financing the purchase of a piece of land that will return him to the past when his forebears were more successful. Reid gives a wonderful portrayal of Ryan. Both men come out as sympathetic and we are rooting for them but if their fate is a case for the existence of God, He does not appear to be on their side.

There is a final scene that may suggest that God exists and there is some redemption for the men however indirect. But I am not sure and I will not reveal the content of the scene. Go see the play for yourself.

Ted Dykstra devotes his immense talent in directing a seemingly simple play and getting all the drama, humour and depth of the play and the characters. He modulates every word and every line for full effect be it to move us to tears, to get a guffaw from a single word or to show the attempt of the men to make human contact. Terrific work.

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A Case for the Existence of God by Samuel D. Hunter continues until December 1, 2024, at the Coal Mine Theatre, 2076 Danforth Ave. Toronto, (northwest corner of Woodbine and Danforth). www.coalminetheatre.com/ 

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

PLAYING SHYLOCK – REVIEW OF 2024 CANADIAN STAGE PRODUCTION AT BERKELEY ST. THEATRE

Reviewed by James Karas

It starts almost innocently. Saul Rubinek is playing Shylock in a Canadian Stage production of Shakespeare’s The Merchant of Venice but he and the rest of the cast are interrupted halfway through a performance and told that the production has been cancelled. The reason given is that the play is incompatible with the times. Very curious. And in the middle of a performance!

Canadian Stage intended to cancel the production the next day and had prepared a mealy-mouthed press release dated the next day to explain its precipitous action. But the pressure got to them and they decided to cancel it on the day it did and when the post-dated press release was leaked.  

Before I continue my review of Playing Shylock I want to lavish praise on Saul Rubinek, the star and only performer. He is on stage for almost an hour and a half performing as the aggrieved actor, as Shylock in parts of The Merchant that he re-enacts and as a Canadian of the theatre with a fascinating background. This is brilliant storytelling, stunning acting and a splendid night at the theatre. Rubinek tells us about his background from being born in a camp in Germany at the end of World War II and his parents bringing him to Canada when he was nine months old. His father was involved in the theatre and he himself has found success in numerous roles in the world of entertainment.

When he enters the stage, he is dressed like Shylock, a Jew, and as the performance continues, he removes all his Jewish attire from yarmulka to prayer shawl. He performs under a huge cross hanging over the stage of the cancelled production. He talks about The Merchant, the actors who performed the play in history, about Jews in the theatre, all interwoven with autobiographical facts. We have the factitious blended with the autobiographical to lend credence to the cancelled production.

 

Saul Rubinek in Playing Shylock. Photo: Dahlia Katz

Rubinek walks around the stage that has a large table and a couple of chairs, addresses the audience frequently and evokes laughter. He leaves no doubt about the essential humanity of Shylock, a role that was not played by a Jew for 300 years after Shakespeare wrote it. Oh yes, it is unlikely that Shakespeare knew any Jews on which to base Shylock and maybe Edward de Vere, the 17th Earl of Oxford, did write The Merchant because he lived in Venice when the play was written and would have known Jews.

Rubinek gives a superb performance of Shylock’s part in the trial scene. The judge was Portia, neither a lawyer nor a judge but who is married to the person for whose benefit the money was borrowed from Shylock. There is no reason to believe that she is not as antisemitic as the rest of the Christians. She pleads eloquently for “the quality of mercy” but only that it be applied to the viciously antisemitic Christians.

Playing Shylock is written by Mark Leiren-Young who wrote a one-act play called Shylock in 1996. That play has some similarities with Playing Shylock but it is a very different. Playing Shylock evolved from the first play after a long period of gestation with numerous changes and the addition of biographical details about Rubinek to give the impression that we are watching a documentary. It is wonderful theatre from Rubinek’s bravura performance to the brilliant and different view of Shakespeare’s play  (except the suggestion that de Vere may have written it) and the informative script.

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Playing Shylock by Mark Leiren-Young continues until November 24, 2024, 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

 

FAUST – REVIEW OF 2024 CANADIAN OPERA COMPANY PRODUCTION

Reviewed by James Karas

Faust has had a happier relationship with the COC than Nabucco.  It was last produced by the COC in 2007 and it got seven performances that season.

If Faust had consulted a good lawyer, say Sir Thomas More, about the bargain he was making with the Devil, Mephistopheles, the man for all seasons no doubt would have said “why Doctor, it profits a man nothing to give his soul for the whole world, but for a woman.”  Faust sold his soul and did not get the whole world but did get some youth and the young and lovely Marguerite for a brief time. Not a great bargain for him but a huge boon for poets, playwrights and composers.

The COC production tries to capture the essence of the bargain and entertain us with some of the liveliest music on the subject. The production tries illustrating the theme in the detailed set by Emma Ryott and lighting by Charlie Morgan Jones. There are stairs leading up to heaven, I suppose, that also look like the backbone of a prehistoric animal. We have a projection of a human chest that looks like an enhanced x-ray so that you have to look at all its details to get the full picture and all the symbolism. I took their word for it. The church scene was different and starkly impressive.

Mephistopheles (Kyle Ketelsen), dressed in high hat and tails, is the essence of a gentleman. When he strikes the bargain with Faust, he asks him to sign a contract without any information about what is in it. Faust becomes young and able to seduce Marguerite (Guanqun Yu) but we only find out about that when we learn that she had a baby that she kills. We assume that Faust ends up in the place where the sun does not shine but we don’t learn much more about his faith. Marguerite is destroyed and gets a reconciliation scene with Faust but she has God on her side and does not join her lover in the “Other” Place where we assume he goes. She sings her two big arias beautifully.

Kyle Ketelsen, Long Long and Guanqun Yu in COC’s Faust. 
Photo: Michael Cooper

Director Amy Lane embellishes the plot by adding some characters. Mephistopheles is accompanied by two beautiful silent dancers dressed as if they work in a cabaret in Berlin in the 1920’s. They do not sing but they do look good. During the famous Jewel Song, the jewels are shown off by the dancers.

I admit that the familiar story as worked out by Gounod does not grab me but Gounod’s music does. I found a disconnect between the tragedy of Marguerite even if it is relieved by the choir of angels and the grace of God and the beautiful music and melodies. Where is Mephistopheles’ evil to make us cringe with horror?

I cannot complain about the singers. Kyle Ketelsen is a distinguished bass-baritone and he sang a swaggering Mephistopheles, not evil but a fine-voiced man-about-town accompanied by two lovely cabaret girls. Tenor Long Long gave us a well-sung Faust who, as far as we can tell, got Marguerite and, as I said, then destroyed her life. I still can’t figure out why Siebel, a man, is sung by a woman, the lovely-voiced mezzo-soprano Alex Hetherington. Baritone Szymon Mechlinski sings Valentin, Marguerite’s brother, who gets the sonorous and moving aria ‘Avant de quitter ces lieux’’ He bids farewell to his sister and entrusts her care to the Lord and goes off to war where he is killed.

One can argue about Gounod’s treatment of the Faust legend and the creaks of his famous opera but there can be no disagreement about the sumptuousness of his music. The melodic waltz, the Soldier’s Chorus, the beautiful Jewel Song and much more carry the opera and the audience with them. Conductor Johannes Debus conducts the Canadian Opera Company Orchestra and Chorus with superbly.

Amy Lane directs the production at its best and its creakiest and does her best under the circumstances. 
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Faust by Charles Gounod, directed by Amy Lane, conducted by Johannes Debus ran until Nov. 2, 2024, at the Four-Seasons Centre for the Performing Arts, 145 Queen St. W. Toronto. For more information go to www.coc.ca

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

NABUCCO – REVIEW OF 2024 CANADIAN OPERA COMPANY PRODUCTION

 Reviewed by James Karas

For its fall season the Canadian Opera Company has chosen Verdi’s Nabucco and Charles Gounod’s Faust. Both operas are reasonably well known but not exactly chestnuts. Faust was last produced by the COC in 2007 and it has never staged Nabucco before and even this time it offers a production from the Lyric Opera of Chicago. We are happy and grateful for it.

Nabucco has several distinctions, including that of being Verdi’s first great success and being an opera that may best be known for its famous chorus, “Va pensiero.”   A more dubious distinction may be that it has a soprano voice killer role of Abigaile for singers who take on the role while young, undisciplined and unmentored.

The role demands vocal range and prowess that very few sopranos possess. The number of singers who possessed those vocal qualities in the past century can be counted on your fingers so to suggest that Mary Elizabeth Williams, the COC’s Abigaile, does not fall in that category is not to diminish her abilities. She does give us Abigaile’s emotional conflicts, and her ambitions. She reaches vocal and emotional peaks but understandably cannot maintain them throughout. At 47 Williams is not young but she is disciplined enough in not attempting to sing at full throttle for the entire performance. I give her credit for her peaks and understand her care not to overdo it.

Roland Wood as Nabucco and Mary Elizabeth Williams as Abigaille 
in the COC’s production of Nabucco. Photo: Michael Cooper/COC

Baritone Roland Wood has a clarion voice that he unleashes for his performance as Nabucco. The king is arrogant, of course, then he loses it, then he regains his sanity and then he converts. That’s keeping the character and the singer very busy but Wood handles the role well. Mezzo soprano Rihab Chaieb plays the nice Fenena, Nabucco’s real daughter and she sings well and provides a contrast to the megalomaniac Abigaile. But she is not without problems. The nice Babylonian has fallen in love with Ismale (tenor Matthew Cairns), a Hebrew, whom she in fact helped him escape from captivity, and became a hostage of the Israelis. Cairns and bass Simon Lim as the Hebrew High Priest Zaccaria deserve kudos for their performances. Lim”s Zaccaria is a steadfast and sonorous leader who keeps the spirits of the Israelites in check under trying conditions.

Verdi paid special attention to the choruses and the dream of freedom of “Va pensiero” is only one of them. They vary from martial bravado, to fear, to expression of triumph. The  COC Chorus under the direction of Sandra Horst is simply outstanding. The COC Orchestra is conducted in exemplary fashion by Paolo Carignani.  

The sets by Michael Yeargan and the lighting by Mikael Kangas favour dark tones and spotlights. The Babylonian throne at the top of a staircase looks like a simple bench and we have the right to expect something more ostentatious. A few brightly lit scenes would help.  

The same observation applies to Director Katherine M. Carter, who may have had to face budget restrictions rather than failure of the imagination in some of her decisions. I feel that perhaps I am being churlish when I should be grateful and applauding loudly for a production that is highly laudable, of an opera opera that for all its shortcomings, deserves to be produced more frequently.

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Nabucco by Giuseppe Verdi (music) and Temistocle Solera (libretto) was performed seven times between October 4 and 29,  2024 at the Four Seasons Centre for the Performing Arts, 145 Queen St. West Toronto, Ont. www.coc.ca

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

THE STUDENT PRINCE - REVIEW OF 2024 TORONTO OPERETTA THEATRE PRODUCTION

 Reviewed by James Karas

Toronto Operetta Theatre offers its third production of Sigmund Romberg’s The Student Prince after a nine-year absence since its last showing. It is a creditworthy effort on the 100^th anniversary of the operetta’s opening. The 2015 production was performed five times but this year’s staging will get a paltry three showings. What is happening to operetta productions in Toronto these days? More below. 

The current production has some fine spots but also some hiccups that affect the overall enjoyment of the bright piece. The operetta is lively, often funny, and full of romantic, boisterous, melodious and wonderful songs. It is operetta as it should be.

We are in the country of Karsberg where the young and handsome heir to the throne Prince Karl Franz (Xavier Flory) is preparing to go to the University of Heidelberg to finish his studies. His future is laid out for him. He will become king upon the death of his elderly grandfather and will marry Princess Margaret (Minerva Lobato) to whom he is already betrothed.

He is accompanied by his bossy valet Lutz (Karen Bojti), his humane tutor Dr. Engel (Ryan Hofman) and will be visited by the Prime Minister von Mark (Sebastien Belcourt) when necessary. The Prince feels that he is under surveillance all the time.

But life as a student in Heidelberg proves to be a riot. At The Inn of the Three Golden Apples he meets other students including members of The Saxon Corps who drink, sing and lead a riotous life. The colorful Ruder (Sebastien Belcourt again) is the keeper of the inn and he has a toothsome and fetching niece called Kathie (Brooke Mitchell) who catches the Price’s heart. Between the members of the Corps and the staff of the Inn there are opportunities for student shenanigans and a serious bout of inebriation and entertainment for us.

Brooke Mitchell as Kathie (centre) and cast in The Student Prince
Photo: Gary Beechy / BOS Studios 

The Prince’s betrothed shows up at the inn with her snooty mother, Duchess Anastasia (Carrie Parks) but our hero is in love with Kathie and plans to elope with her. But the king dies and he is summoned to Karlsberg and the reality of having to become king. He does and his plans to elope with Kathie are unraveled. Princess Margaret is not too bad, he decides and it is time for  him to settle down and the audience to go home.

The original tenor became ill and had to be replaced on five days’ notice by Xavier Flory. Aside from some missteps, he does a fine job in the role especially considering the short time he had to learn the role.

There were several cast members who unfortunately did not enunciate to the point where we could not follow what they were saying.  Director Guillermo Silva-Marin  had some difficulty getting out all the humour of the operetta. Lutz, the students and some of the servants could have been used for more laughs which simply did not materialize. Silva-Marin usually interlopes jokes about current politics but this time there was only one about Justin Trudeau.

Kudos to conductor Kate Carver who conducted the tiny orchestra and the action on the stage meticulously and enthusiastically.

What is happening to the production of operetta in Toronto? In the program, TOT describes itself as Canada’s lyric leader bringing classic operettas and related musicals to us. It is in its 40^th year and that is a major achievement. Credit is due to the tireless Silva-Marin who almost single-handedly manages to continue entertaining us despite some obvious financial issues.

The first operetta I saw was The Mikado in 1974 with the inimitable John Reed at Sadler’s Wells in London. I was hooked. Most European countries have productions of operettas as part of their cultural life. Why is it not catching on in Canada?

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The Student Prince by Sigmund Romberg is being performed on November 1 ,2 and 3, 2024 at the Jane Mallett Theatre, St. Lawrence Centre for the Arts, 27 Front Street East, Toronto, Ontario. Tel:  (416) 366-7723. www.stlc.com or www.torontooperetta.com

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

MY NAME IS LUCY BARTON - REVIEW OF 2024 CANADIAN STAGE PRODUCTION

Reviewed by James Karas

My Name Is Lucy Barton is an adaptation for the stage by Rona Munro of Elizabeth Strout’s novel. It is performed by a single actor and no review should start without giving credit to Maev Beaty for a bravura performance of a complex and long (1 hour and 40 minutes) script without an intermission and without a hitch. It is acting at its best.

This is a memory play and Lucy Barton’s recollections about her life come pouring out as she recovers in hospital from complications following an appendectomy. The first thing that struck me is the title of the play. She insists on telling us her name as if to make sure that we know who she is. She needs to establish her identity first rather than telling us that she will talk about her life or being a writer or any other angle that she may wish to examine. Why the insistence on her name?    

We meet Lucy Barton in the hospital where she is waking up after an operation. Her  appendectomy has become infected and what should have been a brief stay has extended to nine weeks in a New York hospital. Lucy finds her mother seated at the foot of her bed, nothing unusual in that, one would surmise. But she has not seen her mother for nine years and it becomes an important event. Lucy has complicated relations with her mother and almost everyone else that she meets and her mother’s visit begins the unraveling of Lucy’s life as she relates it to us.

She had an unhappy childhood with poverty and difficult, unaffectionate parents. but her mother overcame her fear of flying and is sitting at the end of Lucy’s hospital bed. Do the facts as told by Lucy reflect with reality?

Maev Beaty in My Name Is Lucy Barton. 

Photo: Dahlia Katz/Canadian Stage

The hospital room, the set that is by Michael Gianfrancesco  consists of a bed and a chair for the entire performance. He also designed elegant attire for Beaty. She moves around the stage and narrates part of her autobiography which covers her life from childhood to marriage, to children, divorce and her becoming a successful writer. She tells her story in a stream-of-consciousness style meaning that she tells us whatever comes to her mind without attempting chronological order or any other order that I could discern.

There are a few flashes of humour but Lucy tells us her story in a straightforward fashion that hides far more than it reveals. Her relationship with both her parents, her siblings and her children suggest that this is a dysfunctional family. Is this normal?  She shows very little emotion or histrionics about some very miserable parts of her life. She does love her children and expresses grief about the death of a gay friend from AIDS. She had not seen her mother for nine years and is pleased to see her? Back to her mother’s visit where the two women appear normal. Is it only on the surface? After her mother leaves the hospital, Lucy does not see her for nine years again. What is going on?

Lucy is advised to be ruthless and perhaps she is but her real motivation is to watch people it is that trait that makes her a writer and perhaps all the ups and downs of her life and all the strained relationships are merely a preparation for Lucy to become a writer. The reality behind what she tells us may be opaque because it may simply be the basis for her becoming a writer.

The simple set is supplemented with projected videos of waves in changing colours designed by Amelia Scott, lighting designed by Bonnie Beecher and sound by Jacob Li.

Jackie Maxwell once again displays her sensitivity and mastery in  directing a difficult play to perfection.
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My Name Is Lucy Barton adapted for the stage by Rona Munro from the novel by Elizabeth Strout continues until November 3, 2024, at the Bluma Appel Theatre, Toronto, Ontario. www.canstage.com

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

ACIS AND GALATEA – REVIEW OF 2024 OPERA ATELIER EXQUISITE PRODUCTION

Reviewed by James Karas

Seeing Acis and Galatea by George Frideric Handel at the gorgeous Elgin Theatre in Toronto is like being handed a bouquet of gorgeous roses by a knight dressed in finery or a beautiful lady in an elegant gown.  It is a beautiful opera, a wonderful love story and in the hands of Opera Atelier’s  co-artistic directors Marshall Pynkoski  and Jeannette Lajeunesse Zingg it is much more than even that.

It was Handel’s first work in English and was first produced in 1718 and went through numerous changes but its 1732 version seems to have carried the day. There is no agreement as to what it is and it has been called a masque, a pastoral, a serenata and other names but who cares. In the hands of Pynkoski and Zingg it becomes an opera-ballet.

The work is based on Ovid’s Metamorphoses and involves the beautiful love of the mortal shepherd Acis (marvelous tenor Antonin Rondepierre) and the demi-goddess water nymph Galatea (superb soprano (Meghan Lindsay). Their pure love is suffused with sexual desire. The beauties of the plain of Arcadia are not enough to cool her love (i.e. sexual desire) and the singing birds “kindle fierce desire” in her. Acis is looking for her and imagines her bathing in crystal fountains. He sees love panting on her breast that swells with soft desire. This is beautiful orgasmic attraction.  

Acis and Galatea in 2024 Opera Atelier production. Photo: Bruce Zinger 

The Chorus (The Nathaniel Dett Chorale) steps in to announce Fate’s decree that Acis and Galatea’s love will not last. The cyclops Polyphemus (funny and resonant bass-baritone Douglas Williams) feels the same way about Galatea in an uncouth and barbaric way. We can descent to crude language with him – he is just horny. Damon (tenor Blaise Rantoanina)   pours cold water on human passion and even instructs Polyphemus on how to woo Galatea. 

Polyphemus does kill Acis and we hear some of the most beautiful grieving by the Chorus and Galatea. Acis is turned into a river god which provides some consolation to Galatea and immortality to her lover.

The arias, duets and recitatives are almost all accompanied by a dozen members of The Atelier Ballet corps dancing in their gorgeous gowns. The singing and music are beautiful enough but the dances, choreographed by Zingg are a significant, added pleasure That is why I say Acis and Galatea is an opera-ballet. The dancing like the singing is exquisite.  

Acis the shepherd wrongly tending goats instead of sheep! 

Photo: Bruce Zinger

Rondepierre and Lindsay sing with delicacy, erotic desire, and passion Douglas Williams  is played for laughs. He is a lumbering oaf with primitive sexual urges but manages to provide some laughs before the tragic end of Acis.

About twenty members of the Tafelmusik orchestra are crammed in what passes for a pit and conducted by Christopher Bagan. They produce all the beautiful sounds that Handel composed for them.

The set and costumes by Gerard Gauci enhance the beauty of the production and the result is a delightful night at the opera

Postscript I must add a comment about the opening scene. As the action is about to begin a bunch of goats go across the stge. Okay, they are not real but they have no business being there. Acis is a shepherd, a herder of sheep not of goats. In that case he would be a goatherd. Goats are usually found on mountains and not on the verdant plains of Arcadia where Acis and Galatea live and not, heaven forfend, near Mount Etna in Sicily. I state this with the authority of the only one in the audience who has first-hand experience as a (bad) sheep herder and suggest that in the future the faux pas must be corrected. 

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Acis and Galatea by George Frideric Handel, presented by Opera Atelier, played from October 24 to 27, 2024 at the Elgin Theatre, 189 Yonge Street, Toronto. www.operaatelier.com

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

GROUNDED – REVIEW OF 2024 LIVE FROM THE MET PRODUCTION

Reviewed by James Karas

Grounded is a powerful new opera by Jeanine Tesori (music) and George Brant (libretto) that was commissioned and developed by The Metropolitan Operas. It is sung in English and deals with remote warfare by the U.S. Airforce. That makes it a quintessentially American product that gets a grand production by one of the greatest opera companies. The bonus for us is that it is brought to a movie theatre in our neighborhood, something that most of us could only dream of seeing live in New York.

It is a modern, high-tech production with videos and special effects that are dazzling. We learn and see how remote war occurs with a fighter pilot destroying terrorists in the Middle East from a seat in Las Vegas with deadly accuracy and the ability to see the body parts of the targets flying and the bloodshed.

The central character is a women called Jess (Emily D’Angelo) who becomes an extraordinary ace fighter pilot handling a conventional F16 plane in the sky. We are told that she is one of the very few women doing it but her mastery is undoubted.

The other side of the opera and Jess is her meeting a rancher, falling in love and having a baby girl. She leaves the Air Force to be with her child and returns after a five-years absence. In the meantime. the world has changed and she can carry one her duties as a fighter pilot from a chair in Las Vegas where with a Sensor (Kyle Miller) beside her, she will be called to destroy enemies on the ground in the Middle East.  One example is the sighting of an American convoy on the road and some people working on the road that appear to be enemies planting explosives. She must destroy them and save the lives of the Americans. She does. 

Ben Bliss as Eric, Lucy LoBue as Sam, and Emily D'Angelo as Jess.

 Photo: Ken Howard / Met Opera

We see Jess as a pilot under the control of the rough and ready Commander (Greer Grimsley). But we also see her with her husband Eric (Ben Bliss) taking care of their little girl Sam. Jess lives in two worlds, the fighter pilot killing people remotely and being unable to talk about it with her husband (it is classified), and her domestic life. the wife and mother in the idyllic ranch.

Jess’s two worlds are emphasized by the appearance of her “other” self simply called Also Jess (soprano Ellie Dehn).

These two worlds clash when Jess pursues the Serpent, presumably a terrorist leader. He is in a car going somewhere. She follows him and waits for him to step out of the car and confirm his identity before liquidating him. The car stops but the Serpent does not step out of it. Jess sees a little girl running to the car (her father?) and she is ordered to shoot. I  will not spoil the ending for you and you should really see the opera to get the full effect.

We are told that Tesori wrote the opera specifically for Torontonian Emily D’Angelo and the mezzo soprano delivers an unforgettable performance. We see her as a dedicated, fearless, outstanding fighter pilot that relishes the experience of flying the free world of the sky. We se her as a wife and lover in tender scenes with her husband and her daughter. The clash between the two worlds becomes heart-wrenching. D’Angelo presents outstanding acting and stunning singing. Her vocal prowess covers the gamut from the tender and loving wife/mother to the tough and ambitious pilot and perhaps killer. That is where her world becomes unraveled.

Tenor Ben Bliss looks and acts like a benign and loving rancher. He met a nice girl and brought her to his ranch knowing little about whom he married. He sings splendidly and his overall performance is excellent.

Baritone Kyle Miller is the Sensor, the man who sits beside Jess as the (cameraman?) (who gets) get information and orders about where she is to unleash the deadly power of the drones. When she first meets him, Jess asks him if he is twelve years old. He is not of course, but he does look like one and this has a comic side. He does well as such and as a competent Sensor and a very good singer

Bass-baritone Greer Grimsley is the heavy and stentorian Commander giving orders in an authoritative voice. You do not argue with the Commander as Air Force brass or Grimsley as a singer.

Jason H. Thompson and Kaitlyn Pietras are co-projection designers and their videos representing Air Force pilots and effects of drones releasing and unleashing bombs remotely are terrifying even in the comfort of a theatre.

There are vigorous dance routines choreographed by David Neumann and a kaleidoscope of special effects that dazzle the mind. This is no simple opera but a production that tested the limits of an opera company with the most resources in the field.

Michael Mayer directs the mind-boggling complexities of the production with a firm hand and mind-blowing imagination.     

Yannick Nézet-Séguin conducts the Met Orchestra in all the facets and complexities  of the score. It is almost impossible to absorb the music on a single hearing regardless of how impressive and enjoyable it is. Unlike familiar operas, I remember very little of the  music except that I enjoyed listening to it. Modern operas have the problem of needing to be produced or heard numerous times before they are put in the drawer and all but forgotten. How many of them have joined the standard repertoire? Grounded has an army of advantages. It deals with a current American subject; its characters are recognizable Americans and it is sung in comprehensible English. It may be a candidate for the standard repertoire but it is difficult to say how many opera companies have the resources to produce it on a regular basis.

In the meantime, seeing the Met production, live or on the screen is a good start. _______________________________
Grounded by Jeanine Tesori (music) and George Brant (libretto)was shown Live in HD from the Metropolitan Opera on October 19 , 2024 in various Cineplex theaters It will be reprised in encores starting from November 9,  2024, in various Cineplex theatres. For more information go to www.cineplex.com/events/

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

LES CONTES D’HOFFMANN – REVIEW OF 2024 LIVE FROM THE MET PRODUCTION

Reviewed by James Karas

Live from the Met in HD is back with eight productions streamed directly from New York to a theatre near you. This year’s opener is Jacques Offenbach’s Les Contes d’Hoffman, a lavish and extraordinary revival of Bartlett Sher’s 2009 production. It has a cast of outstanding singers, and production values that only a handful of opera companies can dream of equaling. It is opera as we dream of seeing it. 

Les Contes d’Hoffman has some unique features that we don’t usually associate with grand opera. The hero, E.T.A. Hoffmann (Benjamin Bernheim) is a poet, a dreamer, a lover  and a romantic, an interesting combination but not the stuff of a classic opera hero. The opera itself has several aspects that take it out of the mold. We have good and evil opposing each other as if we are dealing with medieval themes. Offenbach was a great operetta composer and he has inserted scenes that are right out of that genre. Offenbach’s great music subsumes all these parts into a grand and thoroughly enjoyable opera and Sher takes advantage of them all on a grand scale.

Bernheimer gives an outstanding performance as the troubled, passionate Hoffman who soars vocally and suffers personally. He is lanky with tousled hair representing the romantic poet perfectly. A stunning performance.

Hoffmann has three great loves in Les Contes who are sometimes sung by one singer but) the roles are frequently shared by three as in this production. The opera starts with a Prologue that takes place in a bar and that provides the opportunity for hoopla, dancing, drinking and singing by the chorus of course. Sher takes advantage of that and provides superb entertainment in the process.

Hoffmann’s first great love is Olympia (soprano Erin Morley) a mechanical doll. Morley moves like a doll, needs to be wound up, sings the gorgeous “Les oiseaux dans la charmille” impeccably and dances. You may see elements of operetta here and marvel at  the dance routines by chronographer Dou Dou Huang. Alas, the mechanical doll will be trashed and Hoffmann allowed to see his second love. 

Erin Morley as Olympia, Benjamin Bernheim as Hoffmann, and 

Vasilisa Berzhanskaya (background) as Nicklausse. 

Photo: Karen Almond / Met Opera

Hoffmann moves from the mechanical doll to Antonia (the stupendous soprano Pretty Yende). It is a supremely ironic and tragic situation. Antonia has a marvelous voice inherited from her mother but she also has a weak heart and singing may kill her. She and Hoffmann sing a beautiful duet but the nasty Dr. Miracle convinces her to sing by magically bringing the voice of her dead mother (Eve Gigliotti). Antonia sings and dies.

From the tragic Antonia, Hofmann moves to Giulietta (mezzo soprano Clémentine Margaine), a Venetian courtesan. Courtesans do what they do but in this act, we move to the supernatural. Giulietta has stolen the shadow of her current lover Schlemil (Jeongcheol Chal) and the evil Dapertutto bribes her to steal Hoffmann’s reflection. She does and Hofmann loses his other self, kills Schlemil and is rejected by Giulietta. Margaine is dressed like a courtesan and sings robustly in the role.

Most of the singers play more than one role. I have mentioned two villains, Dr. Miracle and Dapertutto but there are in fact four with Lindorf and Coppelius. Those are juicy parts and bass-baritone Chistian Van Horn sings all of them with relish and marvelous resonance.

Tenor Aaron Blake takes on four roles, Andrés, Cochenille, Frantz and Pitichinaccio,   that are right out of operetta. Several other singers take two roles each.

Mezzo-soprano Vasilisa Berzhanskaya deserves special credit for her superb performance as Hofmann’s friend Nicklasse and as the Muse of Poetry. She is Hofmann’s companion and friend and tries to protect him. Berzhanskaya gives a steady, perfectly pitched performance that is a pleasure to watch and hear. For record keepers, note that this was her Met debut.   

For the theatricality of the production, credit goes and remains with Bartlett Sher and revival director Gina Lapinski. Set Designer Michael Yeargan, Costume Designer Catherine Zuber and Lighting Designer James F. Ingalls deserve kudos as part of the team that brought this outstanding production to life and to us.

And nothing less than a standing ovation will do for Conductor Marco Armiliato and the Met Orchestra and Chorus sine qua non.   
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Les Contes d’Hoffman (The Tales of Hoffmann) by Jacques Offenbach was shown Live in HD from the Metropolitan Opera on October 5 , 2024. It will be reprised in encores starting from October 26, 2024, in various Cineplex theatres. For more information go to www.cineplex.com/events/
 James Karas is the Senior Editor, Culture, of The Greek Press

LA CLEMENZA DI TITO – REVIEW OF 2024 PACIFIC OPERA PRODUCTION

Reviewed by James Karas

Victoria, the capital of British Columbia, is a city of fewer than one hundred thousand residents, that has a rich and civilized ambience and a lively cultural life. Pacific Opera Victoria produces three operas per season and they are given four performances each. With the Victoria Symphony providing the music in the lovely 1400-seat Royal Theatre that represents a highly commendable cultural achievement.

Mozart’s La Clemenza di Tito, Portman’s The Little Prince and Verdi’s Rigoletto are the operas offered in October 2024, February and April 2025 respectively. Judicious choices.

La Clemenza was put together in 1791 by an ill and broke Mozart. He accepted the commission to write an opera for the coronation of a king of Bohemia while he was working on the Magic Flute and La Clemenza may be described as a quickie. New York’s Metropolitan Opera did not produce it until 1984 and that should give you a good idea of its popularity.

Pacific Opera Victoria gives the work a redoubtable production sung by an all-Canadian cast that has many virtues including and especially being thoroughly enjoyable. The opera has six characters, four male and two female but in keeping with 18th century practices two of the men’s roles are sung by women. Remember the castrati?

As Tito, tenor Andrew Haji gives a commendable performance as an emperor who wants to be decent even in the face of treachery and attempted assassination by a friend. The much-buffeted man rises above treachery and espouses virtue especially in his signature aria “Se all'impero, amici Dei.”  Haji is imperious and tender as he expresses his credo that if he cannot be decent, he does not want the empire. A convincing performance in general and of the tough aria.

Vitellia is a central role in the opera by being evil and bitchy. She is the daughter of the late Emperor Vitellius who was deposed by Tito’s father and she wants the throne. She orders her lover and Tito’s friend Sesto to assassinate Tito because he will not marry her. Then she finds out that Tito has dumped his prospective wife and calls the assassination off and then reinstates it. Soprano Tracy Cantin with wonderful intonations and conviction gets her way as Vitellia. When she sings “Deh, se piacer mi vuoi” (If you want to please me”) she is not thinking of the first thing that may come to your mind. And when she tells her lover “Non piu di fiori” (No more flowers) she is not worried about the cost of roses. She wants murder and Cantin gives a wonderful performance.  

Vitellia and Sesto in La Clemenza di Tito in Victoria

Mezzo soprano Taylor Raven sings the role of the hapless Sesto, a friend of Tito (whom he agrees to assassinate) and in love with the wonderful Vitellia! His aria “Parto, parto” (I’m going, I’m going) gives a clue to his character that Raven sings well. But Raven reaches the pinnacle as Sesto in the beautiful aria “Deh, per questo istante solo” (Ah, for this single moment) where he begs Tito for forgiveness. Raven sings gorgeously and melts Tito into clemency under difficult circumstances. It is perhaps the most beautiful and moving aria in the opera done superbly.

Soprano Reilly Nelson puts on pants and lends her lovely voice to Annio who is a friend of Sesto and in love with his sister Servilia. But when Tito says he wants her for his wife, he steps back nobly. Again, a well-sung performance. Servilia is the nice but brave woman who tells Tito who wants to marry her that she is already spoken for, he backs off. Well done as singer and character. Bass-baritone Stephen Hegedus plays Publio,  the Captain of the Praetorian Guard, with relatively little to do but Mozart does not deprive him of an opportunity to sing. “Tardi s’avvede d’un tradimento” (He is late to notice betrayal) describes Tito as an honorable man who believes people are incapable of disloyalty. Hegedus sings with beautiful sonority and with no rancor after he arrests Sesto. 

High praise for conductor Giuseppe Petraroia and the Victoria Symphony. The Chorus did not seem that successful on occasion. Too much movement on and off the stage?

Director Jennifer Tarver did superb work with an opera that sometimes seems stitched together. Tarver kept it going well. Set and Costume Designer Camellia Koo did  superb job with a single set of two yellow circles above and something similar below. But the costumes left me scratching my head. We have women in pants roles. Fine. But Vitellia is a woman played by a woman. Why is she wearing pants? With the other women, we know they are women but why not let us pretend they are men. Emphasizing their chests is not the way. It is a small point but worth making.

I make no secret of how thoroughly I enjoyed the production and with some luck I may see more products in the beautiful capital of British Columbia.
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La Clemenza di Tito by Wolfgang Amadeus Mozart (music) and libretto by Pietro Metastasio revised by Caterino Mazzola opened on October 16 and will play until October 20 at the Royal Theatre, Victoria B.C. For more information: www.pacificopera.ca

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

GIFFT 2024 – REVIEW OF LISTEN AND LISTEN TO WHO’S TALKING

 Reviewed by James Karas 

The Greek International Film Festival Tour (GIFFT) is back for the month of October 2024 featuring a wide range of films, shorts and documentaries. They are all shown in 11 cities across Canada from Vancouver to Ottawa in cinemas or online. The Festival shows a feat of organization that few can match let alone surpass. It all originated with Stan Papulkas who has found dozens of sponsors, volunteers and venues to be able to state that it is the only Festival of its kind in Canada.   

 I saw two feature-length films and my reviews follow.

                                                            LISTEN

Listen is about Valmira (Efthalia Papacosta), a pretty 16-year who became deaf when she was a child. Her mother died around the same time and her father Stamos (Yorgos Pirpassopoulos) married Tania (Yoana Bukovska-Davidova), a Bulgarian woman who has a son Aris (Dimitris Kitsos). Financial issues force the family to move from Athens to their derelict village on an island. Valmira attended a school for the deaf in Athens but in the village, she is forced to attend the local high school.

 

The drama centres around Valmira, the students at her school and her dysfunctional family. At school Valmira faces bigotry, abuse and alienation from students who find her deafness as something to ridicule and to treat her abominably. She tries dancing and playing soccer with the students (she is good at both) but they look at her as a lesser human being. She shows considerable strength but she is crushed by the cruelty that she encounters. Papacosta has an attractive face that registers emotion and pain beautifully. A superb performance.

Most of her classmates are plain goons and a disgusting sight. She does find Mario (Nikos Koukas), an apparently decent student and they fall in love. The bigotry of the students spreads to Aris, the Bulgarian, and the atmosphere of ridicule and cruelty spreads.

Stamos and Tania do not get along and Aris gets in a fist fight with Mario and Aris is expelled from the school based on Mario’s and Valmira’s lies.  The picture of bigotry is completed with the conduct of the school’s Director (Evangelia Andreadaki) who is mostly concerned with keeping her job rather than upholding fairness and integrity.

The film is shot in the  derelict village, the beautiful coast, the school and Valmira’s house. Director and writer Maria Douza overdoes the cruelty of the students and in general. Almost no one is untouched with the bigotry and cruelty inherent in the situation. Nevertheless, it is a moving film.

                             LISTEN TO WHO’S TALKING

Listen To Who’s Talking is a film by Thodoris Niarchos (his first) that manages to get some laughs but its thin plot carries it only so far before it slows down to a walk when it should be galloping. The level of laughter should be increasing but it does not. 

It looks like a low budget production with scenes in the protagonist’s bedroom and office and the bakery where the heroine works. There are a few outdoor scenes of relative insignificance.

Fotis (Ilias Meletis) is a Life Coach in Athens and doing financially just fine but he realizes that he has no life. To be precise, he is told by his Voice (his subconscious his Spirit?) telling him to straighten out his life. He has no friends, no family and lives with a dog.

We see him in his office seeing some wacky people. He calls them clients and not patients because he is not qualified to practice anything but what he learned from life. One of them is a priest who is troubled by his failing faith and his habit of drinking the leftover communion wine after the Sunday service. As much as a bottle of of it. Another client is middle-aged man who coaches a team of attractive volleyball girls. The girls are butt-endowed and the coach finds that part of their anatomy extremely attractive - a bit too attractive. Fotis advise him to practice self-control.

Another client is a soccer game official whose whistle is blown in favour of the team that helps him live well by working only two days a week. The technical word for that is bribery. His clients find Fotis’s advice wise and helpful. But we know that he is working too hard and missing out on life.

In the meantime, the Voice tells him to stop working so hard and find a woman. Fotis tries to follow that advice and finds his clients ridiculous, laughs in their face and they abandon him. He finds a woman, Chrysanthi (Xanthi Georgiou), who serves him pastry every morning in the local bakery but he has never looked at her for some 200 days. When he does open his eyes and sees her, she turns out to be attractive, personable and smart. She has friends who are coaching her to get a life so that she and Fotis have that in common as well.

Fotis the Life Coach turns into a bowl of jelly at the thought of asking Chrysanthi for a date. He becomes nervous, uncertain, reluctant, in fact he acts like a nerdy teenager approaching a girl for the first time. Really?  The two actors do a fine job despite the limitations of the script and there is considerable laughter generated.
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Listen and Listen to Who’s Talking are shown as part of the 2024 Greek International Film Festival Tour in Toronto and cities across Canada. The Festival runs from October 1 to 31, 2024.   For more information about GIFFT and the films shown visit www.gifft.ca

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