Metro Theatre – Page 2

Join the wedding party

Left to right, Laura Luongo (Mindy), Melanie Preston (Georgeanne), Michelle Weisbom (Meredith), Devon Oakander (Tripp), Christine Reinfort (Trisha) and Yvette Benson (Frances) in Metro Theatre’s production of Five Women Wearing the Same Dress. (photo by Tracy-Lynn Chernaske)

The wedding reception thrown by Metro Theatre Vancouver will be one of the most engaging and fun that you’ve attended – without the hangover or other morning-after regrets. Well, not necessarily, anyway.

Five Women Wearing the Same Dress is at Metro to March 12 and it is well worth seeing. Not only will you be supporting a wonderful theatre space but some very entertaining theatre, as well.

Two Jewish community members are among the five women at this over-the-top Knoxville, Tenn., wedding – Michelle Weisbom as Meredith and Melanie Preston as Georgeanne. Meredith is the younger sister of the bride, Tracy, who none of the bridesmaids, including Meredith, like. Georgeanne was a friend of Tracy’s in high school but Tracy’s then fiancé, Tommy, caused a lasting rift. And Tommy is a recurrent topic among the bridesmaids – he is what you would call a real shmuck.

We meet the bridesmaids after the wedding, just as the reception at Tracy’s parents’ home is starting. The women are decked out in teal sleeveless taffeta dresses that wouldn’t look half bad but for the huge sash with a bow that wraps about the butt, and the hat with a bow to match.

Frances (Yvette Benson) is the first to take refuge in Meredith’s bedroom. Tracy and Meredith’s cousin, Frances is a believer, and every time she is offered a drink, a smoke, a joint, she declines, giving as her reason, “I’m a Christian.” One of the best exchanges in the play is between Frances and Trisha (Christine Reinfort), another former high school friend of the bride, who describes herself as “the reigning queen of the bad rep.” They argue about the difference between having the right to an opinion versus imposing your opinion on others, and Frances’ accusation at one point, “That is secular humanism talking!” is hilarious – and thought-provoking – in context.

Rounding out the bridal party is the groom’s sister, Mindy (Laura Luongo). A lesbian whose coming out was almost universally poorly received, except by her cousin Tripp, Mindy is high-strung and somewhat defensive. She is also clumsy and a compulsive eater, at least in stressful situations, which this wedding is for her and her fellow bridesmaids.

The one man in the cast is Tripp (Devon Oakander), who we meet late in the play, though we hear about him earlier, as Trisha finds him attractive and talks about him with the other women. She tries to resist his charms, as she has slept with many, many men to date and been hurt many times. The scene between Trisha and Tripp is delightful, though it is one spot at which the play loses a bit of its momentum. It is unclear why playwright Alan Ball (whose credits include American Dream, True Blood, Six Feet Under) needed have a male character in the play at all. Perhaps to defend his sex? Show clearly that there are some good men out there?

The only criticisms of Metro’s Five Women lie with the writer. He touches on a number of themes – religion, homophobia, AIDS, sexual abuse, drug use, race, wealth, etc. – and the points are sometimes lost. As well, there are a few moments where the story drags a bit. But director Don Briard has done a fantastic job with this production overall. All of the actors have just enough of a Southern twang that the play is well-situated geographically, and the set of the play, which premièred in 1993, puts it firmly in its temporal space. The actors have a great chemistry and interact with each other convincingly. You really will feel as if you’re the sixth bridesmaid in the room – though much more comfortably dressed.

Five Women is recommended for audiences age 16+. For tickets ($24/$21, two for $35 every Thursday), call 604-266-7191 or visit metrotheatre.com.

New take on old fables

Liz Lorie, left, and Amanda Krystal. (photo by Hayley Bouchard, Little Cat Photography)

Writers of romance, fantasy, science fiction and horror reinvent many a classical tale with a slant towards their chosen genres. The new play by Lisa Simon, A Modern Fairy Tale, is yet another such retelling, and it has an original twist. This musical parody spins the old tales in a new light, inclusive of LGBTQ concerns and gender-neutral terms.

For starters, a romance is blooming between a female Wolf and Red Riding Hood, but they encounter several roadblocks on their love journey. Granny mistrusts Wolf – the animal-people’s rights are at stake here. Other beloved fairy tale characters populate the play – Snow White and Boots the Cat, gay princes Chuck and Cinder, Alice and Hatter – each one with their own set of problems.

Many of the performers are amateurs, attracted to the project by their love for musical theatre and their social convictions. Among them are Jewish community members Amanda Krystal and Liz Lorie, two young University of British Columbia students.

“We met at the show, didn’t know each other before,” Krystal said.

“Now, we do many things together,” added Lorie. Both provided the Independent with the inside scoop on the show.

Krystal, a microbiology student, is playing Alice. “It’s a pretty big role,” she said proudly. “I’d call it a supporting lead.”

Krystal learned about the auditions for the play through the Vancouver Public Library audition list. “I took dance and music theatre classes at school and I’m still doing tap dance. I wanted to audition for musical theatre so I left my email with the library list. I wanted to be in the Fringe, but the shows of the Fringe are all during midterms. When I learned about the auditions for this show, I thought it would be great, and not interfere with my studies.”

Lorie is in the play as part of the ensemble. She is studying English and thinking about the master’s program. She came to Vancouver from Toronto via the fine arts program at UBC Okanagan.

“Originally, I wanted to study art at Queen’s University in Ontario,” she said, “but they canceled the art program I wanted because there was not enough money for the arts. I got into the Okanagan program, and it was very good but, like in Queen’s, there was not enough funding. Interesting courses got canceled, the instructors left, so I switched to English in Vancouver.”

She noted that art programs are not getting sufficient funding anywhere in Canada. “Art is so important, specifically theatre arts. We are all isolated, but theatre brings us together. It’s therapeutic.”

She encountered the same problem – a limited budget – with this show, but despite the lack of monetary recompense, everyone is very enthusiastic and pitching in wherever they can, she said.

Krystal, besides performing, is an assistant choreographer. “My sister is into professional dancing,” she said. “She and I and Damon [Jang] choreographed three tap dances for the show.”

Lorie, with her artistic background, helped with numerous artistic tasks. “I worked on the posters and on the stage sets,” she said. “There are several sets: a ballroom, a book shop, a hat store, a cottage and a couple of others. It’s a complicated set. I also made my ice crown – I play the Snow Queen.”

Excited to be in the world première of the show, both Krystal and Lorie pointed out that the novelty of the play, while liberating, can be nerve-wracking, too.

“We improv a lot,” said Krystal. “There is no history of famous actors playing our roles. I would do something new, not in the script, and Lisa [Simon, who is also the director] would say: ‘Oh, good, keep it.’ I never know what will happen at the next rehearsal. We all come from different directions to this play, and it’s fascinating to see it coming together. But it adds some pressure, too.”

The fairy tale aspect of the show unites the participants.

“Using fairy tales was a great idea,” said Krystal. “Everyone knows them, can relate to them. Most of us first met them in the Disney versions but, in this play, seeing them from a different perspective is interesting. Some of the changes are in your face, while others are not.”

Lorie elaborated: “Fairy tales are for everyone, and we all draw from them, but they allow lots of creative leeway. In the end, it all comes to the concept of acceptance, to finding out who we are and standing for who we are, to accepting everyone despite their racial or sexual differences.”

The philosophical spotlight of this production translates well into the performers’ experience.

“It’s a light musical comedy,” Krystal said, “but it touches on many dark topics: bullying, anxiety, depression, various sexual orientations. The story focuses on the imaginary animal-people rights, but we all can recognize someone we know.”

“It’s geared towards the LGBTQ crowd, but we hope it won’t turn off the other audience,” said Lorie. “It’s a very eye-opening show for everyone, much more than just an LGBTQ event.”

The play will be on at Metro Theatre Aug. 19-30.

Olga Livshin is a Vancouver freelance writer. She can be reached at [email protected].

Metro Theatre’s Deathtrap macabre, fun

Left to right: Melanie Preston, Drew Taylor, James Behenna, Don Briard and Deborah Tom, in Deathtrap at Metro Theatre. (photo by Tracy Lynn-Chernaske)

If you like rollercoaster rides, then Metro Theatre’s staging of Ira Levin’s Deathtrap as part of its 51st season is for you. This satirical thriller winds its way through more twists and turns than any ride at the PNE. Levin, who has penned such classics as Rosemary’s Baby, The Stepford Wives and The Boys from Brazil, steps it up a notch with this macabre mix of Monty Python meets Sleuth, with a twist of Macbeth thrown in for good measure. Stephen King called Levin, “the Swiss watchmaker of suspense novels.”

Deathtrap ran on Broadway for 1,800 performances over four years and garnered a Tony nomination for best play. In 1982, it was made into a film starring Michael Caine and Christopher Reeve.

The play-within-a-play format is based on the premise of an aging Broadway playwright, Sidney Bruhl, whose repertoire consists of one set, five-character thrillers, such as The Murder Game and Blind Justice. However, writer’s block has landed him in a dry spell and he has not had a hit for 18 years. He is reduced to teaching college seminars to aspiring writers – or “twerps,” as he calls them, while living off his wife’s fortune. A young student, Clifford Anderson, shows him a script that looks like it could be a smash hit. It’s called Deathtrap, and guess what? It is a one-set, five-character thriller. Only Bruhl has seen the manuscript. When Anderson wants to discuss his work with his teacher, Bruhl sees a light at the end of his tunnel and tells his wife, Myra, of a killer idea to get his hands on the manuscript. He invites the young man to his remote New England retreat and tells him to bring all the copies of his play with him. Anderson has no family and has not told anyone where he is going. Need I say more? As in an Agatha Christie play, A Murder is Announced – but is it really?

Houdini handcuffs, a garroting, a body dragged out to be buried, a resurrection, a heart attack, a double murder and a clairvoyant who has a premonition about it all, are all part of the thickening plot. The audience cannot be sure that this is going to end well for anyone as it grapples with hidden meanings, plot reversals and deceit until the final coup de theatre.

The set is very simple – a quaint old colonial farmhouse with the attached stable converted into a beamed study for Bruhl’s writing, replete with a crackling fireplace. A desk with a manual typewriter sits front and centre. The walls are covered with posters from Bruhl’s Broadway hits and an assortment of antique weaponry from those plays, including maces, swords, daggers and a cross-bow, visual spoilers, perhaps?

Community members Melanie Preston (who was profiled in the Jewish Independent, Sept. 10, 2010), playing Myra, Bruhl’s nervous wife, and Deborah Tom, as the Bruhls’ nosey Dutch psychic neighbor, carry the female roles. In an e-mail interview, Preston noted that, “The character of Myra is a wonderful challenge. When I first read the script, she surprised me, so I am trying to do the same for the audience, but it is always challenging to make someone real while honoring the script. I have worked hard to study my internal motivations with the other characters and to bring what Myra struggles with to life.” Added to that motivation is the fact that Preston’s true-life significant other, James Behenna, plays naïve Anderson. “I have always wanted to work on stage with James again,” she said. “He is a very good actor, and it’s nice to have both a hubby and a boyfriend in the play.”

Tom said she has fond memories of her early acting days at Vancouver’s Peretz School under the tutelage of Lerner Bossman and Claire Klein Osipov, where she developed her passion for theatre. By e-mail she said she “fondly remembers the elaborate productions with beautiful sets and costumes performed in the auditorium of the old, one-storey building, with the aromas of all the goodies the babas were making in the adjacent kitchen. Everyone contributed and it is this sense of community that [I have] found here in our local nonprofit theatre organizations such as Metro.”

In this production, Tom plays Helga Van Torp, a renowned psychic. With her ersatz accent, she provides much of the comic relief. Drew Taylor is convincing as the suave but cunning Bruhl. His one-line witticisms are barbed with delicious bitterness as he complains that “nothing recedes like success.” Behenna’s Anderson is the perfect counterpoint to Bruhl’s sophistication. Director Don Briard does quadruple duty, not only showing his thespian talents in a smaller role as Bruhl’s lawyer, Milgrim, but also as set, lighting and sound designer for the play.

On preview night, some of the actors had trouble with their timing and Tom’s accent needs some work, but all of this should improve over the course of the run. Some critics have labeled the play dated and a genre past its sell-by date. This reviewer does not agree – there is nothing like a good bout of murder and mayhem for one’s entertainment pleasure. Deathtrap runs until Feb. 8. Tickets are available at 604-266-7191 or metrotheatre.org.

Tova Kornfeld is a Vancouver freelance writer and lawyer.