Summerworks 2016 Kudos

12 Aug

It has been our modus operandi for some time now to support and highlight what we feel are above-average festival productions with capsule reviews of said productions. Since we are only able to attend a handful of Summerworks productions this year, we are taking a slightly more informal approach, and highlighting whatever elements of those limited shows we feel deserves kudos:

Daughter-400x500Adam Lazarus’ Magnetic Misogyny: The co-creator and solo performer of the provocative and cringe-inducing Daughter, starts off sweet enough but gradually reveals the dark underbelly of his character. Theatre is often guilty of preaching to the choir, so a work like Daughter, which uses a seemingly innocent father-daughter relationship to explore the inner workings of the so-called woman-hating man from his sole perspective is a bold and distinct choice. His performance is so dedicated that one feels a genuine disgust for him by the end of the 60 minutes. Thanksfully a post-curtain call addendum makes it very clear that Lazarus himself does not share his character’s worldview – even if he is unsettlingly convincing.

DontTalktoMeLikeImYourWife-400x530Andrea Scott’s Two-Sided Argument: Writer Andrea Scott’s Don’t Talk to me Like I’m Your Wife is ostensibly about alleged WW1 spy and seductress Mata Hari, but it is Scott’s use of the iconic figure as a means to discuss historic and modern feminism, its evolution and definition, that stands out as her work’s greatest takeaway. This discussion plays out as a present-day conversation between a progressively-minded white male history professor (David Christo) and a female student of colour (Lisa Karen Cox); it’s dense and intellectual, and manages to present a remarkably well-rounded summary without betraying a strong bias towards any single argument or point of view. It’s the kind of artful and pointed ambiguity that practically demands post-show discussion among audience members.

412ignobletruths-400x500MyNightmaresWearWhite-400x267Thomas McKechnie and Grace Thompson’s Comedic Bravery: McKechnie and Thompson, the writer/performers of  4 1/2 (ig)noble truths and My Nightmares Wear White respectively, each put their raw personal battles front and centre; McKechnie shares the realities of living with depression, while Thompson evokes the challenges of surviving a debilitating auto-immune disease. Where they share common ground is in their use of humour to tell their stories; while each is essentially tragic at its core, their ability to lace their performances with comedic moments creates an artful balance that is demonstrative of the resilience of these two remarkable artists.

InUteroOut-400x267The Three-Dimensionality of IN UTERO OUT: From experimental shadow-puppet company, Drawing with Knives, IN UTERO OUT is a pensive docu-theatre examination of human birth. The piece itself is thoughtful and accomplished, but it is the multitude of creative ways in which the company add literal depth to what is often a very two-dimensional medium of story-telling that makes it stand out aesthetically.

 

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