Travelsmartplanet

A half century ago, a creative actor/director and immigrant (from South Africa via England), Maurice Podbrey, together with his equal half, Elsa Bolam (and Herb Auerbach and Peter Duffield) managed to knit together a theater company, Centaur, which was and is no easy feat. If that wasn’t nerve wracking enough for a person, Bolam then went on to start another successful one, Geordie Productions.

In an unintentional but perfect nod to the past, Eda Holmes, Centaur’s new artistic director, brings us Choir Boy set in a boys’ prep school while Podbrey’s first production, The Prime of Miss Jean Brody, took place in a girl’s school. The play is written by Tarell Alvin McCraney, who comes with a pretty flashy CV: he’s the Chair of Yale’s School of Drama, where he is also the Playwright in Residence at the Repertory Theatre. and he was also Playwright in Residence for Stratford-Upon-Avon’s Royal Shakespeare Company – and happens to be a member of the renowned Steppenwolf Theatre Ensemble. And let’s just throw in here that he wrote the story of Moonlight which won Oscars for best picture and for the writing.

The story is mostly about Pharus (played by Steven Charles), a gay student making his way through a very traditional private school. Charles commands the stage throughout, and we can’t wait to see where his star takes him (to the Broadway production?). His fellow students talk, yell, fight and sing a cappella as they share intimacies and rivalries when the old school values conflict with our modern world in rules, nepotism, faith, sexuality and school board traditions.  Tight direction by Mike Payette keeps you riveted throughout, while Lighting Designer Andrea Lundy’s magic creatively moves you around the set (loved the purple).

Floydd Ricketts, the musical director and arranger, was the right man in the right place to be able to create new arrangements of spirituals, gospel and jazz songs for a cappella harmonies.  Ricketts notes, “Even though this music comes from pain, there is also joy in it”. Dayane Ntibarikure, assistant director and choir movement facilitator, did a brilliant job of  having the actors move “slave slowly” around the scenes, adding foot stomping  to song and subtly evoking a chain gang in the shower scene.

Holmes has tweaked the play runs slightly this year by adding (less expensive) preview shows to get the performance just that more perfect for opening night. You know how much I like a deal, and Centaur offers much for FREE with behind-the-scenes info to enrich your  theater experience: Talk Back after the shows , Sunday Chat Up, Thursday Pre-Show Convo and the Saturday Salon.

How perfect that this golden Centaur season started by lifting our spirits with the power of music blended with this timely story. See Choir Boy in Montreal before you can’t get tickets on Broadway (Dec 2018)!

Location 453 St-Francois-Xavier
corner: Notre-Dame
Tel: 514-288-3161
Dates: til Oct 28
www.centaurtheatre.com
Metro: Place d’Armes

It is really hard to take the boring authenticity-proving side of the modern art world and make it into a delightful audience loving (2 standing ovations on opening night) theatre piece.

Stephen Sachs, the playwright, took on the true story of Terry Horton, a former truck driver who scavenged a painting for $5 at a second-hand shop as a gift for a friend who needed cheering up. Maude Gutman, as she is called in this play, is a lover of kitsch – her trailer is overwhelmed by it (A congratulatory shout out here for the jam-packed shelves created by set and costume designer Pam Johnson, who really needed my Smart Shopping Montreal book to find all that stuff!). At a yard sale, the local art teacher noticed the painting and mentioned it might be a Jackson Pollock; and so begins the tale. Somehow Gutman managed to get a major art house in NYC to send an expert over to check out her claim.

And therein lies this sparring pied-a-deux. A foul-mouthed bourbon drinking trailer park madam vs. the snooty elitist artsy gentleman. Human authenticity versus art authenticity is set to be proven. Nicola Cavendish walks the walk and talks the talk. Her sneaker grounded stalking moves her around the trailer while her expert verbal comedic timing keeps the pace going. She even manages to give the garbage pail “a line”.

Jonathan Monro (Lionel Percy), himself a renaissance man (competitive swimmer, piano prodigy, singer, director, lyricist, actor), glides around her, expertly dodging her verbal and physical attacks. My take-away forever (as a former NYC art teacher) is the exuberant and sexually suggestive way in which Monro teaches us the how and why a Jackson Pollock painting is important – and not just a bunch of paint splashes on a canvas.

Though Percy always trusts his “first blink”, it is Nicola Cavendish who summed it up brilliantly when she observed Pollock’s paintings, “You can see that what emerges is layers and layers and layers. I think it’s a lesson on how we can learn to look more closely, whether we are talking about a piece of art or whether we’re talking about the woman who lives across the street who’s offensive.” Modern art is beyond the understanding of the ordinary citizen, and this play opens the door a crack as to what it is all about, how it works and doesn’t work. The show makes it all fun and drives Maude’s trailer expertly to the end to find out if she goes from rags to riches.

Location: 453 St-Francois Xavier
corner: Notre-Dame
Tel: 514-288-3161
Dates: Jan 31-Feb 26, 2017
Prices $28- $51
www.centaurtheatre.com
Metro: Place d’Armes