Author: Pauline Nesbitt

Until Nov. 1, catch Infinithéâtre’s Progress! in the nurses’ lounge of the landmark hospital

Last Tuesday, Progress!—a play written by Alyson Grant that uses ghosts to celebrate and commemorate the buildings of the Royal Victoria Hospital on Pine Avenue—held its preview on site.

The Royal Vic, as it’s known locally, opened in 1893 to mark Queen Victoria’s Golden Jubilee and moved to the Glen site in NDG last April.

Grant ascribed her inspiration for Progress! to her own attempts to come to terms with the changing function of the Pine Avenue buildings, which have been used by many Montrealers to recover from ailments, to give birth and to say farewell to loved ones.

“The exclamation mark [in the title] suggests the irony behind progress,“ said Grant.

Grant’s connection with the Royal Vic started in her early 20s when her boyfriend was a patient there. Although it was at the Montreal Neurological Institute where he eventually passed away, Grant spent a lot of time at the Royal Vic during his illness and had become very familiar with its smell and taste of its food.

The tale begins during the later part of the Victorian era. As the show opens, the ghosts of the first two people to die in one of the hospital’s rooms come onstage to interact with the audience. These characters, known simply as No. 1 (played by Peter Farbridge) and No. 2 (played by Daniel Brochu), form a Vaudevillian duo, delivering jokes and slapstick comedy. The action then shifts to a room where a suicidal woman (played by K.C. Coombs) has just been admitted. The ghosts set out to help her understand the cause s for her sadness and despair that led to her attempted suicide. By doing so, they hope she will avoid becoming the hospital’s latest ghost. This retrospection offers moments of comic relief and evokes themes of religion, fate, the afterlife, abandonment, relationships and family ties while questioning the relevance of progress—all with the human touch expected at a hospital.

The director, Guy Sprung, said Progress! attempts to strike a very delicate balance between humour on one side and despair and sadness on the other. “I hope we get that balance there, so that you come away with something and at the same time it is a celebration of this hospital and its history,” said Sprung.

The nurses’ lounge was converted into a theatrical space for this play. “There is no doubt that the play has an extraordinary resonance because of the location,” said Sprung. The way the characters move around the set allows the audience to participate in the action as it unravels. Sprung also noted that the cast feels a certain amount of nostalgia towards these buildings, particularly since three of the actors and the stage manager were born within their walls. Vaudevillian in style, Progress! is an entertaining reminder of the historic relevance of these buildings.

 

Presented by Infinithéâtre—which promotes new theatrical works in Quebec—Progress! premiered on Oct. 21 and will be playing at the nurses’ lounge of the former location of the Royal Victoria Hospital on Pine Avenue until Nov. 1. Tickets are $20 for students and can be purchased at Infinithéâtre.com.

See your favourite Charles M. Schultz creation in a stage musical

You’re a Good Man, Charlie Brown—a musical comedy loosely based on the characters in Peanuts, the comic strip created by Charles M. Schulz—is produced by the West Island Theatre Association (WISTA) and premiered Friday.

This musical, written by Clark Gesner, contains no plot. Instead, it’s a series of short scenes that follow the life of Charlie Brown and the rest of the Peanuts gang as they navigate their way through childhood.
WISTA has enough cast members that they made two teams to share the performances equally: one red and one blue. If the red cast performs during the afternoon then the blue cast would perform in the evening, and vice versa.

“[Peanuts] is the best known comic strip that’s been around, and this is its 65th anniversary, which is one of the reasons we [WISTA] chose to do this show,” said Robin Kravitz, who played Snoopy as part of the red cast on Friday.

“We all have that kid inside that never really wants to grow up,” said Angela Marino, who plays Lucy Van Pelt. “[Being a kid is] one of the best times of your life—no responsibilities—everything is free and it’s just about having fun. Adults remember that and want to pass that experience on to their kids.” As a whole, the play is fun, touching, and comedic—people of all ages can relate to it in some way.

Ian MacLaren described his character, Charlie Brown, as “a loner with very low self-esteem who is prone to believe everything that people say about him, but particularly … Lucy.” He said he was like that as a child, so he merely uses his memory recall to get into character.

About her extremely outspoken, sassy and bossy character, Marino said some of Lucy’s qualities resonate with her, as she recalls bossing her younger sisters around during her childhood and, like Lucy, receiving some sass back. “Lucy thinks she is perfect until she is told by Schroeder that she is a crabby person and then she realizes that she has to change,” said Marino.

Snoopy—the good-natured, loveable Beagle—provides comfort and support to Charlie Brown. “Pets are a wonderful presence to have,” said Kravitz. “Snoopy is one of the funniest characters I’ve ever played—he is funny, philosophical and dramatic.”

Peanuts, the comic strip, ended in 2000, but the themes it encapsulates continue to resonate with contemporary audiences. You’re a Good Man, Charlie Brown brings to life these characters, which many parents and grandparents have been telling younger generations about.

The orchestra, conducted by Kiel Howden, is located off-stage and provides a rich music hall sound to the songs without detracting from the action on stage.

The set is very minimalist and reminiscent of comics and crayons. Building blocks are moved around to set the scenes.

WISTA is a non-profit musical theatre company that was founded in 2006. Its mission is to provide an outlet for young adults up to the age of 29 to develop their skills in musical theatre. The company puts on several musicals annually, and volunteers are always welcome.

You’re a Good Man, Charlie Brown runs until Oct. 24 at the Louise Chalmers Theatre in Pointe Claire. Tickets for students are $20 and are available at wista.ca.

Una Vida: A Fable of Music and the Mind, weaves a narrative that confronts Alzheimer’s and the power of music

Music can be used to soothe the soul and to help buffer the wounds that life inflicts. This truism is evident in Una Vida: A Fable of Music and the Mind, a deep, soul-searching film that promotes the need to appreciate and to cherish the past achievements of those who suffer from dementia and Alzheimer’s disease. This film highlights the challenges these diseases present—not only to those afflicted by them, but also to their family members and caregivers.

The screenplay was written by Dr. Nicolas Bazan and Richie Adams and is based on a novel written by Bazan, a neuroscientist whose research focuses on neurodegenerative diseases with an emphasis on Alzheimer’s.

Joaquim de Almeida (Desperado) plays Dr. Alvaro Cruz, a neuroscientist whose research mirrors Bazan’s. Cruz receives news of his mother’s death while at a scientific meeting in Paris. Distraught, he returns home to New Orleans and decides to take a leave from his research to deal with the emotions brought on by his mother’s death. He finds himself in the French Quarter of New Orleans, where he discovers Una Vida, played by Aunjanue Ellis, an African-American jazz singer, performing in a bar. He again witnesses her performing at an old diner he used to frequent with his mother. Struck by the way she appears to lose her place in the music and then quickly find it again, he concludes that she is suffering from Alzheimer’s disease and decides to use his scientific expertise to help her. In this quest, he discovers her musical past and, at the same time, embarks on an emotional journey that helps him cope with his mother’s death and his subsequent sense of loss. This act of altruism enables him to help Una Vida’s family cope with her illness.

As the film’s title suggests, music is prominently featured throughout the film. The musical score was composed and produced by Carlos José Alvarez, and includes rich traditional pieces such as “Motherless Child,” “His Eye is on the Sparrow” and “Avalon,” intertwined with new pieces that provide a powerful and unique New Orleans flavour.

Dementia and Alzheimer’s disease are very emotionally stressful and isolating experiences, which are turned into a heart-rending tale by the plot and stellar performances by the actors. The story that unravels is powerful, appealingly realistic and entertaining. The film succeeds at raising awareness for these diseases, and promotes a community approach to handling them.

You can see Una Vida: A Fable of Music and the Mind at Cineplex Quartier Latin on Oct. 1 at 7 p.m.

Giacomo Puccini’s famous opera is now showing at the Opéra de Montréal

Love was in the air as l’Opéra de Montréal (ODM) kicked off its 36th season with a stunning interpretation of Madama Butterfly, by Giacomo Puccini, at Place des Arts on Saturday. Although this tale is from another political and social era, François Racine, the stage director, portrays it with an exciting freshness and transforms it so that it can be palatable for contemporary audiences. Racine weaves a tale that focuses on the profound nature of true love, with all its foibles, and shares the simplicity, innocence, candour and beauty he says he experiences each time he sees this opera.

Puccini uses three acts to spin a tale that pitches Western culture against that of the East, juxtaposes innocence with experience and showcases the profound nature of true love, along with all its illusions and disillusions.

Set in the port city of Nagasaki, Japan at the turn of the 20th century, the libretto is loosely based on a true story of a young geisha whose innocence and beauty captivates an American naval officer who marries her, and then returns to sea in search of an American wife. The geisha had renounced her ancestral gods and converted to Christianity before her marriage. The American does not return and she takes charge of
her own destiny.

The first act opens with Pinkerton, the American, examining a house he has rented for himself and Butterfly, his betrothed. Sharpless, the US consul, appears and Pinkerton reveals that he is unsure that he loves Butterfly, but that he is bewitched by her charm and innocence. Before she appears on stage, Butterfly is heard telling her friends and family that “she is the happiest girl in Japan, or in the world.” The marriage takes place and the act ends with the couple singing the famous long love duet that evokes strong sensual feelings and seems to equal foreplay while their body language displays their happiness.

​Act II opens with Butterfly at home with Suzuki, her loyal servant, waiting for Pinkerton. She fantasizes about his return, but remains loyal to him, despite the presence of other suitors. Three years pass, and Pinkerton asks Sharpless to inform Butterfly that he will not return. Sharpless attempts to read Pinkerton’s letter to Butterfly, but she interrupts him repeatedly, so he gently asks her what she would do if he never returned? She replies that she cannot go back to being a geisha because now her songs would be sad, not happy. Later, Butterfly sees Pinkerton’s ship enter the harbour, and waits for him to come.

In the final act, Pinkerton returns, but asks Suzuki not to wake Butterfly. It is Suzuki who tells Butterfly that Pinkerton now has an American wife. Butterfly realizes that she has lost everything, but feels satisfied, knowing that she experienced the love of an American husband and bore his son. She decides to die with honour, rather than to live with shame.

Melody Moore, a soprano, makes her debut with ODM as Butterfly. While she is much taller and heavier than one expects of a geisha, she handles this demanding role effortlessly. She is convincing as a playful, innocent 15-year-old, who is in love, and then transforms into a sensuous wife and mother who ultimately takes charge of her own destiny. The intense emotions she evokes with her voice and body language are palpable. Her rendition of “Un bel dì,” the opera’s most famous aria, received robust applause.

Antoine Bélanger, a tenor, returned to ODM as a replacement for Demos Flemotomos as Pinkerton for this performance, and although his voice and dramatic presence were flat at the outset, he quickly gained confidence and transformed into the cad he portrayed.
Morgan Smith, baritone, makes his debut with ODM as Sharpless, the US consul stationed at Nagasaki. His rich tones harmonize perfectly with the tenor and the soprano voices.
Allyson McHardy, a mezzo-soprano, plays Suzuki, Butterfly’s devoted maid with all the charm, manners and politeness common within Japanese culture.

Puccini’s score includes Japanese-sounding melodies, punctuated by “The Star-Spangled Banner” and is intertwined with 10 pieces of classical and popular Japanese music. The orchestra, led by James Meena, succeeds in evoking all the feelings and passion on display.

This is particularly evident in Act II, when the orchestra almost takes on the role of a character—informing the audience of the depth of a scene—as the music describes and evokes the feelings Butterfly experiences while she maintains a vigil for her husband, the anguish she feels as she prepares to relinquish her son and again in the emotionally-charged final scene.

The stage sets are elegant, but simple and airy. The decoration is sparse and cherry blossoms add a distinctly Japanese aura. The costumes are very elegant, but remain tastefully simple. Red fabric is contrasted by varying shades of cream and gold, which provides richness without opulence.

In the final scene of Act I, Butterfly is in a white gown, and Pinkerton, jacketless, is in his white naval uniform. Here, white is used as a prop to depict the very sensually charged, yet innocent moment the couple experiences as they move towards consummating their marriage.

The lighting is effectively used to create a mood, or to signal a change in the time of day. In ODM’s synopsis of the opera, Puccini is quoted to say this is one of “the most sincere and evocative” of all his compositions. The libretto is uncomplicated and appeals to the initiated, as well as those who may be new to opera. As the dying strains of the orchestra were heard, the audience erupted into a round of applause that became a standing ovation, lasting at least five minutes.

You have the chance to see Madama Butterfly at Salle Wilfred Pelletier, Place des Arts, until Sept. 28.