Summerworks Festival 2009: Theatre
Theatre, Comedy, Music, Dance, and more; it’s all happening at the Summerworks Indie Theatre and Arts Festival, running August 6th-16th along Queen St. West, at more than a half dozen venues. My apologies to anyone who has a show that’s NOT Summerworks-associated, but this week’s postings are 100% festival focused ( August 14th’s edition of the update will revert back to the usual format).
This first of three special Summerworks posts starts off focusing on the original and largest element of the festival… Theatre.

Erin Shields and Maev Beaty follow up their last paired collaborative work ("Goblin Market") with "Montparnasse", a nuanced and sensual piece about nude models in 1920s Paris (photo by Amanda Lynne Ballard).
I’ve seen exactly 1/3 of the 42 plays in the “Local” and “National” categories as of this post, and there have been some real standouts. There’s also a number of shows that I’ve already seen in one form or another prior to this festival, that I can confidently recommend.
If you’re looking for drama, both of the shows Groundwater Productions is producing, “The Epic of Gilgamaesh (Up Until the Part When Enkidu Dies)” and “Montparnasse“, are sure bets to see fascinating and theatrically accomplished work. “Montparnasse” in particular has garnered excellent word of mouth based on their 1st act preview at the Rhubarb Festival earlier this year, and I’m happy to report that the full version of the show has been brilliantly realized. Writers/actors Erin Shields and Maev Beaty shed all, playing nude models – one an aspiring artist, the other a hedonistic dilettante – and their artist patrons and bohemian acquaintances in 1920s Paris.

Carlos Gonzales-Vio is a strong contender for best male performer at this year's Summerworks, for his moving ensemble work in the multimedia show "Nohayquiensepa", and his standout performance as the beast man Enkidu in "The Epic of Gilgamesh" (photo by Amanda Lynne Ballard).
Also showing a fair bit of skin in their production is Ecce Homo, who had a huge hit on their hands last year with their production of “The Pastor Phelps Project“. This year’s offering is “The Ecstasy of Mother Teresa (or, Agnes Bojaxhiu, Superstar)“, the third and final in their trilogy of collective creations based on quotes concerning controversial figures of the 20th century. While almost every spoken word in the show is a quote, the assemblage of the show is original, and whereas the nudity in “Montparnasse” is integral to the plot, in “Mother Teresa”, it’s just one of many elements (music, dance. video) that enhance the spectacle of the production.
Other multi-media productions worth noting include Aluna Theatre’s “Nohayquiensepa“, and Daniel Barrow’s “Everytime I See Your Picture, I Cry“. “Nohay”, a less titillating, but far more technologically adept show than “Mother Teresa”, is a “workshop production” that uses a physically agile ensemble and an astounding array of projections, video, and audio recordings to give a vague and affecting eulogy to victims of violence, “inspired by events in a Columbian river town on the fringe of great violence”.
Barrow’s show builds on his previous work creating hand illustrated overhead projection shows – he describes his work as “manual animation” – with several key new developments; it becomes clear early on in the show that this is not autobiographical, but is a weird and surreal narrative, and Barrow for the first time is “invisible” to his audience. Previous shows have had him clearly visible manipulating his projector, but in this show, he’s hidden away on the balcony of Theatre Passe Muraille, and the audience focuses solely on his moving images. I had some issues with the narrative (the show could really use a program), but there’s no denying this is a wholly original theatrical experience.

Project Undertow's "Melancholy Play" has it all: a sparkling, witty script, a deft directorial debut from Rosa Laborde, a gorgeous set, and a uniformly enchanting (and also gorgeous) ensemble cast.
The final two shows I’m strongly recommending (that I’ve seen – I expect I’ll have some new shows to highlight come this weekend’s update) are both resolutely comedies, though their titles and topic material might suggest otherwise.
The National Theatre of the World, who I wrote about at length when they launched their series “Impromptu Splendor“, have finally brought their improv act to a theatre festival, and it’s truly gratifying to see theatre audiences realizing what this company does is brilliantly theatrical, though their techniques are rooted in comedy. The company members – Naomi Snieckus, Ron Pederson, and Matt Baram – research a playwright’s work to prepare for a show; on “opening night”, they ask the audience for a few random suggestions, then spontaneously create a one act play “inspired” by the featured playwright. I’ve seen them perform shows you’d swear were written by David Mamet or Judith Thompson, and it’s almost impossible to believe the three are creating as they go – but it’s 100% written before your eyes, and must be seen to be believed.
Last but certainly not least, my favourite show to date at the festival, “Melancholy Play“, is anything but. Ingrid Rae Doucet stars as a blonde depressive who finds that her maudlin demeanor causes people of both sexes and all walks of life to fall head over heels for her – until she overcomes her depression and realizes her new-found cheerfulness has the opposite effect. This absurd and delightful farce boasts a surfeit of comedic talent, and director Rosa Laborde, herself a Dora and Governor General Award nominated playwright, makes an assured directorial debut. While the script itself is by American playwright Sarah Ruhl, it’s an outstanding example of a independent Canadian company (Project Undertow) demonstrating great prowess in all aspects of theatrical production; the performances, live music, sets, and costumes are all note perfect.
Next up: a post about the stellar Summerworks Music Series (with lots of choice new MP3s and videos), followed by a final Summerworks post about the interactive treasures of the Summerwalks, and the Performance Gallery at the Gladstone Hotel.