Vagina monologue speak through laughter
By TENILLE TELLMAN
Aug 11, 2006, 01:07
© Copyright by Medicine Hat News.com
© Copyright by Medicine Hat News.com
FUT theatre takes Hatters on
a charming little trip to Mesa
TENILLE TELLMAN
Medicine Hat News
Fut in the Hat Theatre Guild took about 50 Hatters on an incredible and charming trip to Mesa, Arizona on Wednesday night.With only two actors on stage for the majority of the production, Doug Curtis' heartwarming comedy unfolded as 34-yearold Paul, played by Mike Waskalik, drove his wife's 93-year-old grandfather Bud, played by Grant Bray, to his retirement trailer in Mesa.
Using a simple set in a small and intimate theatre, the play was a animated through creative facial expressions and a white screen in the background which occasionally flashed images relevant to the location the two were driving through. The set also allowed for easy transitions between scenes which prevented the actors from losing the audience's attention.
It soon became difficult to decipher if humour was found in the clever and witty script or the chemistry between the two performers. Either way, the audience chose to settle in, enjoy the ride, and laugh along the way.
Waskalik played a struggling artist whose values and interests easily contradicted those of a stubborn senior. Bray was comedic and convincing in his voice, expressions and comments, but his dialogue touched Paul on a more personal note. As Bud was simply eager to get to the retirement trailer for what he believed could be his last trip, Paul opened his mind and ended up learning more about himself.
Along the way, the two met David Stewart, who played a customs officer, security guard and cowboy at different locations. Though brief, every character Stewart played was memorable and kept the audience laughing.
The cast and crew showed dedication and commitment not only to learn the lines, but to take a small production and make it into an unforgettable show.
Play portrays the life of controversial politician
by PETER CRNOGORAC
Medicine Hat News
T
ommy Douglas "The Arrows of Desire," a one-man play by B.C. actor John Nolan was deep, dynamic and funny. But at times it was also drawn out and propagandic -- what better way for a play discerning the life of one of the most controversial and misunderstood figures in Canadian political history.
ommy Douglas "The Arrows of Desire," a one-man play by B.C. actor John Nolan was deep, dynamic and funny. But at times it was also drawn out and propagandic -- what better way for a play discerning the life of one of the most controversial and misunderstood figures in Canadian political history.Nolan began the play, which was shown at the Esplanade on Wednesday night, by just simply walking on the stage.
Nolan, a short man like Douglas, was fiery in his speeches, which was one of Douglas's secret weapons.
Nolan began with a quick history of Douglas's early years. He was born in 1904, and left Scotland for Winnipeg as a young boy.
Douglas and his family briefly went back to Scotland during the First World War but returned to Winnipeg with his family as a 14-year-old boy.
Nolan told how at the age of 19 Douglas became a preacher and through a friendship with a fellow pastor, J.S. Woodworth, became involved in politics by joining the Co-operative Commonwealth Federation; the precursor of the NDP.
Some of the most interesting areas of the play were the years from 1944 to 1960 when Douglas led the CCF as Saskatchewan premier.
However, here was where the play felt like it was bankrolled by Jack Layton and the New Democrats.
The next 20 minutes was a diatribe on how successful the party was in Saskatchewan and how it could do no wrong.
If you are not a New Democrat or a socialist follower then you may have felt left out of the loop at times.
Nolan himself was a stellar talent, and a quick wit, such as Douglas is said to have been. At one point in the play, while moving from a desk to a table, a lighting mistake was made and Nolan was left in the dark.
"Get back into the light," he said, not breaking from the Douglas character. "One of the hardest things in life is to get back into the light." If the audience didn't see the lighting mistake then no one would have noticed the line was a free-running dialogue.
Another disappointment to the play was that it was one dimensional. One-play acts are difficult, and Nolan deserves accolades, but some of the funniest and most interesting parts in the play involved prerecorded
voice-overs of actors -- maybe Nolan? -- as opposition members of parliament.
Also whenever Douglas was involved in an election, a cheesy 1940s style boxing announcer would call out the champion and challenger. When describing Douglas, he would say things like "In this corner the Judas turncoat, wearing commie red..."
Another problem with the play was that it was too long. It came in at just under two and a half hours.
Beside these little points the play was a monumental success.
Douglas "The father of Medicare" is a rock solid Canadian hero. He was a fighter and a family man. He was anti-war and fully for humanity. Nolan shows all his sides in "The Arrows of Desires," and more.
Suburban Motel all about quality
By LEAH PRESTAYKOMedicine Hat
NewsThe only problem with the debut production of Suburban Motel: Problem Child was the weak crowd size.
But as director Karen Cunningham said in introducing the play, "It's about quality not quantity."
The production itself was all about quality and is sure to bring in larger crowds as word gets around.
One of George F. Walker's six one-act plays set in the same suburban motel room, Problem Child tells the tale of a couple, who are a little more than down on their luck, and their struggle to get their infant daughter back from social services.
Starring Jim Rissling as RJ and Clare Lapinksie as Denise, the play looks at the division of the world -- at least as it is seen by RJ and Denise -- between the lucky and the unlucky, the haves and the have-nots. At the same time, some of the characters face the struggle of determining whether they should or shouldn't give two hoots about anything.
Running through the play is the theme of justice, what it is, what it means to different parties and how it feels to be without it.
As RJ and Denise meet with the social worker responsible for their case, their
situation only proceeds to go downhill, a situation they bring upon themselves.RJ spends much of his time watching daytime talk shows, concerning himself more with the problems of the shows' guests than with his own problems. At one point he ironically says the TV characters need a reality check. He does his best to keep Denise optimistic and positive, only to see her continually shoot down his efforts.
Rissling's portrayal of RJ is one any director would dream of; he brings sincerity and a genuineness to the character. Lapinskie played her role well, at times with such clarity a viewer would do anything to help her get her child back.
The two other characters in the play, though just as important to the story and the quality of the show, were Phillie, the drunken hotel manager played by David Stewart, and
Helen, the social worker played by Carol Beatty.Stewart's character brought levity to an otherwise dark play and great laughter from the crowd. The story would be much less enjoyable without him.
Beatty brought with her the traits everyone expects to find in the stereotypical social worker and played the role to a tee, she brings the moderate, reasonable, polite values her character pushes for to the stage with ease.
Though a somewhat heavy play, it was none the less one worth watching. Paired with the more humourous Suburban Motel: Criminal Genius, the Fut in the Hat production of two of Walker's plays is guaranteed to be enjoyed by all who enjoy live theatre and can handle a fair bit of foul language. (Criminal Genius, the second play to hit the stage, could not be viewed and reviewed in time for deadline.)
The audience will especially enjoy the intimate setting of the Cultural Centre's Black Box Theatre perfect for this play, it's like sitting at the edge of the motel room.
