Press Previews and Reviews:

House and garden

by Jon Kaplan, Now Magazine (October 13, 2011)

October has become the month of outdoor, secret-location and site-specific shows.

We guess companies want to do their productions before the cold weather makes it hard for viewers to wait at a street corner or stand outside watching a performance.

We have to admit a fascination with such shows that literally take a show out of the box – the black box of a traditional venue.

First up is Single Thread’s staging of Shakespeare’s Much Ado About Nothing, presented in and around Spadina House, the Edwardian manor across from Casa Loma. The battle of wits between Beatrice (Helen Juvonen) and Benedick (Adam Wray) takes to the period setting really well.

Set in 1918, with the Allied troops returning from the war, the production provides an extra twist: the audience is divided into two groups of apprentice servants, following either the butler (Scott Dermody) or the maid (Sarah Thorpe). The first group watches more scenes with the male characters, while the second follows the female characters. We all come together for the evening’s key episodes.

Director Jonathan Langley organizes scenes so that both audience groups understand what’s going on, even though they don’t see some of the narrative. He makes fine use of the space, too, both inside and out; the candlelit final scene is magical.

The two central actors have believable chemistry both in their sparring and their making up, but Juvonen’s Beatrice could use more rhythmic variation during the play’s first section; being part of the maid’s group, we saw more of Beatrice than Benedick.

Tyler Seguin handles the language well as Don Pedro, the officer whose company includes Benedick and the passionate Claudio (a convincing Brandon Crone), while Viktor Lukawski’s Dogberry, head of the Keystone Kops-style watch, gets lots of laughs with his clown-based performance. Funny, yes, but the actor’s inventiveness is sometimes too much of a good thing.

Much Ado runs through Sunday (October 16).

Review: Much Ado About Nothing

by Adam Collier, Mooney on Theatre (October 8, 2011)

Photo credit: Alex Dault

Single Thread is producing Shakespeare’s classic comedy Much Ado About Nothing – running until October 16th – at the Spadina House.

“It’s pronounced Spa-deena,” a man walking his dog told me, after asking him directions. “The street is Spadiiiina, the house is Spadeena.”

In any case, the venue is an old mansion, three stories high, set amongst lush lawns.

When the show begins, two stern members of a fictitious domestic staff, played by Scott Dermody and Sarah Thorpe, greet the audience. And treating us as candidates for domestic staff, they take turns instructing us on household rules.

Mr. Dermody warns that as we tour the building and grounds, that we might overhear conversations. “Please be discreet,” he adds, sharply. “Nothing you hear is to be repeated!”

After a few scenes / rooms into the show, I asked my theatre partner: So, what do you think?

“It’s kinda cool that they let you go into the rooms, and see them from the inside,” she replied. “Usually they’re all roped off, y’know?”

My theatre partner went on to tell me that as a kid she had been here many times on field trips.

This was my first time at Spadina House, though. And, I couldn’t keep my eyes still.

Spadina House totally engrossed me.

Everything, it seems – from the floral wallpaper to the washroom fixtures – has been immaculately restored to what it would have been like in the 1920s and 30s.

Even the dim wattage of the lighting is probably authentic to the period. And on the walls, there were at least a couple paintings of ships on rough seas that were irresistibly distracting. Not to mention random esoteric items like hunting souvenirs (a moose head, and snarling wolves).

Because the set was so richly textured, and at times I was basically standing amongst the characters as they hatched the plot, I forgot a play was going on. I got lost in the ambience of it all – between the lighting by Christine Buijs, language, costumes by Aleightia Covey and scenery by Liam Karry.

The upside to this was that I was constantly stimulated – save for the penultimate scene on the grass. Somehow the spectacle seemed contrived compared to the breeziness of many scenes preceding it.

The downside to this style of production is that with nothing to focus my attention, I dipped in and out of the plot.

This says nothing of the actors though. The performances – amongst them, those by Shayne Monaghan, Tyler Seguire, Nathaniel Fried and Harmonin Tower – were crisp and clear. And, at least a couple of them were hyperactive to the point of resembling four-year-olds after too much sugar.

Plus the plot itself is pretty easy to catch up to, even if you’re not paying super close attention to every single word.

One of the things that makes this production – put together by Alex Dault and Megan Scarborough – so smartly done I think, is that it’s one of the few plays I can honestly say tells most of its story through staging and actions – dancing, drunken back-and-forth, tears of disappointment and fighting – as much as it does through language. So for that, I give the director – Jonathan Langley – and cast the utmost of respect.

Much Ado About Nothing at the Spadina House is a show I’d strongly recommend!

Details
– Much Ado About Nothing is going up at the Spadina House(285 Spadina Road; just a stone’s throw from Casa Loma). It runs Wednesday through Saturday, at 8 o’clock until October 16h
– The show is being produced by Single Thread Theatre Company
– Tickets cost $20

Journey to the centre of your mind:
Single Thread Theatre Company uses creativity and intuition to represent the complex and surreal world of August Strindberg's A Dream Play

by Brandon Thao, Queen's Journal (March 30, 2007)

Single Thread's production of A Dream Play

The former church and Masonic Temple on the corner of Johnson and Wellington streets has gone through another transformation: upon entering the old chapel, a patchwork of fabric dangles in front of you from a maze of pipes above the stage. The ominous spectre of the old organ looms in the backdrop until the lights dim and organ music floods the room.

From the first scene to the last, actors, technical crew and set designers successfully transform the old church into a visual extension of the human subconscious-the perfect landing pad for a deity to discover the nature of human existence. Single Thread Theatre Company presents a perplexing but compelling performance of Caryl Churchill's version of August Strindberg's A Dream Play.

Responsible for productions such as Henry V and Fen, Single Thread Theatre Company continues their legacy with A Dream Play, overcoming technical and logistical challenges to create a world that does justice to the complex script.

Fascinated by human adversity, Agnes (Allie Dunbar), daughter of the Vedic god Indra, descends to earth to witness life in its unadulterated form. In this unstable reality, outside of linear time or space, she encounters many forms of human suffering and happiness. Agnes falls prey to bad decisions and encounters some 40 characters who help her gain an authentic education in the human condition.

The script uses a hypnotic and lyrical colletion of words to express these complexities.

Set designer Conor Moore interprets the play's strange atmosphere with a technically complex and visually stunning set. Until the lights dim, the purpose of what looks like a series of veils slung from a cage remains a mystery. When the show begins, you realize the set's effectiveness as Agnes emerges from brightly illuminated gossamer on the stage.

As the play continues, the actors shift the lengths of fabric into different positions to mark scene changes. This directs the actors' movement, creates isolated environments on stage and maintains audience interest. The result is surreal movement of characters and location evoking a dream-like state.

The use of sound also helps to draw the audience into the characters' world. When a character hears dripping water, so does the audience, and the screams of the dying send chills up your spine.

Although visually pleasing, the frequent set changes are disorienting at first. The audience is forced to adjust to another setting before getting comfortable with the previous one. In addition, the small cast of 10 must play multiple roles to cover the many characters in the script. Until the audience becomes accustomed to the play's dream logic, this tactic is confusing and makes it difficult to distinguish between characters.

After the performance, director Mary Fraser said the initial sensation of confusion is exactly what the play tries to achieve.

"We worked with the idea that in a dream, things don't always have a logical connection, so you don't have to make a logical connection with everything that happens," she said.

Although hard to differentiate at first, the characters become more easily defined through the actors' clear personality changes, which are executed obviously but without insulting the audience's intelligence.

In addition, Dunbar works with the demanding script and does an excellent job separating her relationships with different characters. Because the balance doesn't follow linear chronology, Dunbar must overlap different relationships at the same time. This becomes a challenge since each respective relationship represents polar emotional periods. Without treating them in the same way, she successfully switches from one lover to the next genuinely and naturally. In addition, Dunbar succeeds in portraying the wide spectrum of emotion presented to her in the script.

Overall, A Dream Play is technically stunning. However, no play would be complete without actors to substantiate the technological magic, and the cast does an excellent job of keeping the play's emotional content grounded without overacting.

Although faced with a challenging script and a small cast, Single Thread Theatre Company pulls off this production in a way that reminds one of the perplexing nature of life and the moments between sleep and wakefulness. In the end, the play's initial complexity becomes its greatest asset-capturing the essence of dream logic, it also represents the confusing nature of human existence.

Second Person, Singular (excerpt)

by Craig Walker, The Porcupine Girdle (March 11, 2007)

Adam Wray and Fernanda Fukamati as Kindred and Cousin.

But still, through all this, you are thinking about what is being done. About how Liam Karry, the director, has made his choices. About how each of the actors has played impressively, with commitment. About how the experience is a little like death itself, in that we know in a general way what is in store for us, but really nothing about the specifics. And you are thinking, recurringly, about how self-conscious you are of the experiment...

And, although this again makes you think about (and admire) the director's choices, you suddenly also realize that, in that dark hallway... the nature of your involvement changed. You lost your formerly inescapable sense of detached irony for a moment, and you were in the midst, playing along in earnest. And this will be your guide for how to approach the rest of the journey.... the actors play their roles with a degree of earnestness that make you ashamed of your petty irony... So that, by the time you are... left in your grave to lie and listen to the faint, remote ticking and rattling of a world beyond your darkness, you have, indeed, thought upon your own mortality.

And when, at last, the light literally at the end of the tunnel begins to glow, and you follow it to the room in which you recover your clothes and then climb the stairs through the storm hatch up into the snowy night, and the cold fresh air strikes your face as you see your breath appear in the moonlight, you are overwhelmed by the exhilarating feeling of just how good it is to be alive.

Henry's national battle:
16th century England meets 20th century Canada

by Taylor Burnes, Queen's Journal (Oct 13, 2006)

Under direction of Alex Dault, and with production from Liam Karry, Single Thread transfers Shakespeare's Henry V into a familiar contemporary setting - 1970's Quebec. Swords to guns, men to women, castles to skyscrapers, the 16th century to the 20th: there are endless attempts to convey Shakespeare in a more relevant light:

What distinguishes Single Thread's attempt isn't their application of a modernized framework-rather, it's how they changed some of Shakespeare's words, characters, and cultures in an attempt to create a relevant and immediate theatrical experience.

With references to Dalton McGuinty, Sir John A, Macdonald, Aberdeen Street and a humourously choreographed fight over a hockey stick, this production has the potential to engage both Shakespearean scholars and those unfamiliar with the Bard.

One of Shakespeare's classical historical plays, Henry V documents the rise of King Henry V of England, a noble leader who epitomizes classical heroism, and his quest to establish the right to the nation of France.

He's received with defiance from the French, who insult him by giving him a crate of tennis balls. Henry and crew conclude that an invasion of France is their only option. Mutiny, inspirational monologues, and malignant violence ensue.

Single Thread's production has nothing to do with the rivalry between England and France. Instead of King Henry, we are introduced to Harry England (Rob Lampard), leader of a sovereigntist French Canadian group reminiscent of the FLQ.

England's character is established as an ideal leader who is loved by his people and greeted with praise and celebration wherever he goes. Despite his morally questionable resolve, England is presented as an unquestionable hero for the majority of the production, thanks to Lampard's convincing performance.

The federal government of Canada replaces the cultural antagonist of France, which places the play deeply inside the political context of 1970's Quebec.

Shakespeare's traditional plot line follows with the sovereigntist group and the federalists, posing the potential for a cluttered performance. The language and character transformations involved, it's an ambitious undertaking that requires much imagination and clear direction to remain comprehensible.

The production is aware of these potentially disorienting alternations, and attempts to unite the production through its visuals. With clever lighting, the audience is able to travel through the constant reversals of language and culture without much disarray. A minimalist set outside of Chernoff Hall reminiscent of the Elizabethan stage, comprised of a small, reversible stage block that exhibits the Canadian flag on one side and the Fleur-De-Lis on the other, emphasizes the dramatic shifts.

The relatively large ensemble cast works together well to aid the flow of the production, and much needed humor is added by Keith Bennie (the Dolphin) and Simon Paabor (the King) on the federal floor.

As is typical of most plays that thrive on reinterpretation for pragmatic expression, Henry V occasionally loses the boisterous elegance and entertainment of the original setting. The staging occasionally suffers from overwrought allusions where simpler expressions would suffice. Yet, Henry V recovers through it's scenes of pointed dramatics.

Despite minor flaws, the production is successful in transforming one of Shakespeare's greatest historical pieces into one a relevant and intimate experience, remarking on the importance of nationhood and stressing the significance of political voices in action.

Letter to the Editor: Front Page flag-burning photo offensive

Opinion Section, Queen's Journal (Oct 17, 2006) in response to a front page photo of the final scene in Single Thread's Henry V

Dear Editors:
Re: "Just watch them" (Journal, October 13, 2006)

I was very offended when I picked up the last issue of the Journal. I never thought I would see our nation's flag being burned - especially at Queen's, the most prestigious university in Canada.

Now I know it was for a story about Single Thread's Henry V, and the play's adaptation is based in 1970s Quebec. Nevertheless, there was no need to have a picture of the Canadian flag being burned on the front page, when I am sure there are various other pictures that you could have chosen.

Austin Zygmunt
ArtSci '10

King Henry meets the FLQ crisis:
Single Thread reinterprets Shakespeare

by Lauren Raham, Queen's Journal (Oct 10, 2006)

The Single Thread Theatre Company doesn't just want to entertain you.

The company would like their production of Shakespeare's Henry V to provoke and education audiences as well.

"Theatre is an art form that questions it's audience in an immediate way," said Liam Karry, Single Thread's artistic director.

"Theatre should stop trying to be like cinema, and should concentrate on its own strengths," said Karry. "I think there's an attitude that theatre is cinema's poor cousin. But it's not. It's a different art for altogether."

Single Thread was started in 2003 by nine students who thought campus theatre lacked relevance.

"We started Single Thread in order to put a focus on Canadian playwrights, as well as the classical texts that inspired them," Karry said.

The company reinterpreted Henry V so that the story now takes place in 1970's Quebec during the FLQ crisis.

The revamped script was initiated by director Alex Dault, ArtSci '07, about six months ago. The inspiration sprung from political apathy among young people in Canada.

"Voter turnout among university students is deplorable" said Karry, who believes that university students have a responsibility to be politically engaged.

Karry hopes the company's production of Henry V, which debuts tomorrow at Chernoff Hall, will incite interest in political and social issues that affect university students in Canada.

"We don't produce 'art for art's sake," he said. "Theatre is meant to educate, not just challenge our ideas of art."

"We're hoping people will become interested in issues that are relevant after seeing the play."

The company also strives to put on theatre productions in the most professional way possible.

About 40 full-time Queen's students from various departments, including drama, helped put the production together.

"For them to pull something off of this magnitude makes me very proud" Karry said, adding that everyone involved is very passionate about "making things happen."

Single Thread hopes to have large turnouts for the performances at Chernoff Hall, but for Karry, the success of Henry V can be measured by the effect is has on the audience.

Drama students take to the field

by Catherine Brezicki, Queen's Journal (April 7, 2006); Photo by Katrina Ludlow

Fen experimented with the great outdoors — Chernoff Field.

This past weekend, a group of Queen’s drama students performed their production of Fen, in association with Knockabout Theatre Company and The Single Thread Theatre Company.

Fen, written by English playwright Caryl Churchill, is a story of a community of farmers and their complex relationships with each other, as well as the conflicts within themselves.

Drama student Sasha Kovacs showed skill beyond her years in her direction of this show, and with the help of a talented cast, created a highly emotional and moving version of the play.

Set in the Fenlands of North England in the 1980s, Fen follows the stories of a group of labourers from four generations as they endure the hardships of their work in the fields in cold weather and blistering winds. Their identities are woven into the land they work, and for them, work is life.

The play revolves around one main plotline—the story of Val, a married woman involved in an affair with another farmer, Frank. Val is trying to escape with him from her confined and suffocating life in the Fenlands, but she is unable to part from her two young girls, Deb and Shona.

The remaining characters including Frank’s wife and daughter, are all somehow connected to this main plot, going about their lives around the scandal caused by Val. Frank’s daughter Becky is constantly tormented and abused by her resentful mother, who seems determined to make her own kin hate her.

The play continues as Val tries to find the answer to her life-altering predicament: whether to stay and live with her children, or to leave them and run away with the man she loves. Her final decision is a result of her emotional and tragic situation, having to choose between the two lives that lie ahead of her, and she cannot bring herself to do either. Fen involves a very small cast of six people, each playing several roles, with each character indicated through the costume change that each character performs on stage. The audience watches as the actors literally “morph” into their characters through the action of putting on their costumes. While doing so, they actually become different people, showing different mannerisms and taking on different voices.

Fen is a play that revolves around language, voices and the problems of communication. This small group of talented actors perfected the Northern accents to such a degree that the audience becomes absorbed in their culture and life.

Kat Sandler’s performance as the conflict-ridden Val displayed such real and utterly believable emotion during her weekend performance that she silenced the audience as she worked through her heart-breaking speeches. Every character was flawed and imperfect, but so completely human that it was impossible not to relate to each of them. Fen is set in the soil of the English farmlands, and appropriately but unusually, this production constructed their stage out of dirt, giving it a sizable degree of authenticity. Hidden within the soil were props that were removed and used in the play, indicating that everything the characters had came from the land.

The situations the characters are in seem so miserable and desperate as they struggle through their hardships. Strangely, it does not evoke pity, but instead evokes sympathy and a hope within the audience that the people of the Fenlands will overcome the intense conflicts they face.

This play is slightly abstract in its presentation, and for a viewer who is unfamiliar with this type of theatre, it can be slightly hard to follow. Fortunately, the talent of the actors, along with the emotion and depth they bring to their parts, enable the viewer to become completely engulfed in the lives of these real, true characters.

Nothing about this play, from the set to the character relationships, is typical. Fen goes back to the basics of humanity, the earth and the nature of man, and is so easily believable and accessible because the Fenland people are so real. There is no Hollywood happy ending, or a pretense of perfection—only the flawed human characters that evolve before the audience.

Last 5's innovative plot line stands out

by Karen Jackson, Queen's Journal (May 24, 2005); Photo by Katrina Ludlow

Jamie (Phil Kalmanovitch) has a chat during The Last 5 Years.

In theatre, it always proves to be interesting when writers play with structure. New and innovative plot ideas seem to often be the focus of new writers. Less occasionally, playwrights look to form to add novelty to piece.

Writers have been hard-pressed for new structural ideas since Shakespeare’s time. As different plot lines are plunked into the same form over and over again, it can take a lot to produce a fresh play when stale structures tend to impose a sense of predictability. However, the genius of Tony Award-winning composer Jason Robert Brown has created a refreshing hiccup in this standardized continuum: The Last 5 Years, locally staged by the Single Thread Theatre Company. While the tale takes on a subject that is somewhat old hat—two people falling in and then subsequently out of heterosexual love with each other—the presentation of this typical tale is where much of the musical’s innovation and atypicality lies.

The musical takes place on a basic set with only two characters. These two characters interact indirectly for all but one scene in the entire one hour and 20 minute, intermission-free production. The two characters are a couple: Jamie, played by Phil Kalmanovitch, and Cathy, played by Amber Mills. Cathy’s narration of their love affair runs from the end of the relationship backwards to the beginning, while the character of Jamie concurrently dictates the relationship from its beginning to its end. The scenes feature each of the characters in alternation, and on two occasions their scenes cleverly converge. If you hadn’t read the liner notes in the playbill ahead of time, it would have been a confusing start to the play. But, to the informed audience member, the whole concept was immediately grabbing.

It was fascinating to watch the two dynamics of the relationship from opposite and one-sided perspectives. The two stories merge for two musical numbers—the point at which the couple gets engaged. The audience gets to watch the characters overlap back over the scenarios already played out by their opposing character. Then the audience sees the other character’s side of the story.

This was a captivating concept that was pulled off quite successfully, considering the difficulty the actors must have experienced in acting and responding all by themselves on stage, with no one to feed off or even to react to. With scenes involving “air” hand-holding, and responding to invisible characters, these two actors had a challenge.

The play opens with a bitter, yet powerful number, “Still Hurting,” sung by the character Cathy. Immediately following this tune, the character of Jamie takes the stage with a contrastingly-hopeful song “Shiksa Goddess,” in which he sings about the perfect girl he just met.

Mills seemed a bit hesitant at the beginning when confronted with the almost intrusively-intimate audience that was rather confined in the diminutive Baby Grand Studio. The musical almost felt too big for the setting. However, as Mills inevitably got more familiar with the crowd, she let her character open up quite noticeably and her astounding voice rose. Phil Kalmanovitch also did a fantastic job at displaying his vocals, but his character seemed somehow awkwardly constrained by the tight setting. However, he seemed to loosen up after eliciting some laughter from the crowd during the quirky number “The Schmuel Song.”

The play progressed—and regressed in this case—to a not-so-harmonious junction where the two characters finally had a number together. Cathy and Jamie joined voices in a tender piece called “The Next Ten Minutes”—the only point of simultaneous relational harmony in the play—in which the two characters get engaged. It’s a shame their voices didn’t harmonize as much as the story did. Their voices found it hard to blend on this first encounter between the two characters, perhaps because they were used to singing to their own respective tune.

However, the energy of the show was noticeably boosted following this mid-point meeting. A refreshed confidence was apparent in the actors after this point. The two characters pulled something of an identity switch as they then took on the emotions of the other. As Kalmanovitch took the part of the slowly embittering lover his character gained more dimension, and subsequently more interest and flare. Mills consequently took on the role of the besotted lover, playing that up with immense spirit in the numbers “I Can Do Better Than That” and “Climbing Uphill.”

The musical ultimately met its end in its beginning, as the closing number featured both characters—Cathy at the start of the love affair she had just acted out in reverse, and Jamie, jaded and walking out on a shattered marriage. The last word sung by both characters in unison was “goodbye.” One was sung with an excited anticipation for the next meeting and the other spoken to stamp a dismal end onto that very same relationship. This was a poignant end to an intriguing production that bore a structure that in itself so artfully represented the very entanglements of love that it played out.

Mighty Morph-in’ Single Thread

by Alison Westwood, Queen's Journal (Nov 19, 2004); Photo by Andrew Norman

Brendan Halloran takes full advantage of the aquatic set.

Written by acclaimed playwright Mary Zimmerman, Metamorphoses provides a retelling of 10 Greek myths taken from the Roman poet Ovid’s Metamorphoses. The myths are connected by the common theme of a transforming character, the title Metamorphoses.

The Single Thread Theatre Company has produced its own version of the play, currently being performed at The Baby Grand Studio theatre through this weekend. Formed in 2003 by a group of Queen’s students, the Single Thread Theatre Company presents Canadian and classical pieces for the Kingston community.

As one character in Metamorphoses tells the audience, “Myths are public dreams, dreams are private myths.” From the moment the audience enters the theatre—even before the play launches into its narrative—the dream-like aesthetics of the production are striking.

The Baby Grand Studio itself was transformed. Clearly the result of laborious planning and construction, an elaborate aquatic design sets the stage for the whimsical Metamorphoses.

While this production is a strong performance all-around, its tour de force is the visual appeal of the choreography and art direction. The commendable direction is the work of Kimberly McLeod who maximizes the capabilities of both the set and her actors.

Metamorphoses opens with a beautifully choreographed, wordless scene setting the tone for the rest of the play, moving through its selection of Greek myths in a graceful, dance-like fashion. Several times, as segues are integrated into the myths themselves, the cast performs rhythmic or musical interludes, showcasing the multi-talented performers.

In many productions, attempts to incorporate an additional method of performance (ie. music or dance) into the acting seem to be an afterthought or as a way to fill in time. However, Metamorphoses seamlessly integrates these other mediums into the narrative, using them to tell parts of the story.

The actors are remarkable in their performances, using their whole bodies to breathe life and emotion into the characters they play, doing so as smoothly on dry land as in the aquatic portion of the set. Further complementing the artistic performances and choreography are the simple, elegant costumes and the striking visuals created by stage and candle lighting. A strong attention to detail is what makes this production a beautiful visual experience, stylistically comparable, on a less grandiose scale, to the Cirque du Soleil.

A few scenes are especially memorable for their visual presentation and are thus worthy of mention. A storm at sea is captured from the point of view of sailors on a ship in such a way that the whole stage becomes a tumultuous nautical horror. At the opposite end of the spectrum is an intimate scene between Psyche and Eros in which Eros’ brilliant white wings glow atop a deep burgundy bed surrounded by water, amidst dim lighting.

Metamorphoses certainly boasts a strong cast, who are talented both as individual performers and as an ensemble. Sasha Kovacs’ performance as the sweet, delightful wood nymph is of particular note. Kovacs captures the innocent light-heartedness wonderfully and is well complimented by Kevin Millington in his role as Vertumnus, admirer of the nymph. As well, Veronique LeFort gives very powerful performances in all her roles, including Eurydice and the Godess of hunger, filling each of her characters with the grace and poise of a dancer.

Brendan Halloran’s performance of a modernized Donald Trump-type King Midas is also memorable, opening and closing the narrative of the play nicely. None of the actors are noticeably weaker than the cast as a whole, or overshadowed by other performers. One slight exception occurs in the very few times where the dialogue becomes overpowered by splashing in the water or singing. The dialogue is still audible, but the audience has to strain to hear over the additional sounds onstage.

Single Thread’s production is remarkable in that it only really generates compliments. A strong script, well acted and beautifully presented makes Metamorphoses a memorable play that enthralls the audience. A must-see presentation for anyone who loves the theatre, Greek mythology or who simply appreciates a good piece of art. Metamorphoses is only at The Baby Grand for the upcoming weekend, and I highly recommend making time to see it.

Single Thread’s Othello shines with talent

by Grace O'Connell, Queen's Journal (Oct 19, 2004); Photo by Tim Fort

Cassio and Bianca share a tender moment on stage.

The prolific Single Thread Theatre Company has once again treated the members of the Kingston community to an exceptional theatre-going experience.

After the success of last fall’s Julius Caesar, the company once again decided to try their hand at Shakespeare. The selection this time was the tragedy of Othello, and those familiar with the text were not disappointed by the company’s ambitious staging, put together after a mere six weeks of rehearsal.

Ahmed Kayssi, of university rector fame, was cast in the title character, his first-ever starring role. Despite being new to the stage, Kayssi gave an admirable performance, and worked well alongside his beautiful wife, Desdemona, played by Robin Willis. Willis herself gave one of the strongest performances of the show, connecting well with a difficult text and showing a real depth of emotion in her character.

A minimalist set design in muted colors, courtesy of Dan Rider, created dynamic levels for the actors to work with, and a backdrop on which director Liam Karry was able to exercise his excellent eye for visually appealing blocking. Othello is Karry’s third directing effort. In April he directed Samuel Beckett’s challenging piece, Waiting for Godot, also a Single Thread production.

Costumes with an intended late Victorian quality, designed by Single Thread veteran Jonathan Langley, kept with the pared down feeling of the piece. Military costumes for the male characters were particularly well-furnished.

Langley portrayed the true central character of Othello — the wicked and amoral plotter, Iago. Karry’s casting prowess is felt in his placing of Langley, undeniably his strongest actor, in this central and pivotal role. Langley served as dramaturge to Karry’s directing, reversing the roles they served in a previous show.

The surprise stand-out performance of the night came from Alex Dault, who skillfully played Roderigo. Dault showed an excellent understanding of the character, presenting Roderigo as a believable tool, who finds himself in over his head with the wicked Iago. His delivery and physicality displayed a connection with the text which made him a pleasure to watch. Dault was only in his first year when he was cast for the role of Roderigo last spring, predicting a future as bright for the company as is its present.

One of the pleasures of this show was the lack of a single weak link in the cast. Karry expressed his appreciation for his actors, calling himself “completely spoiled” by his resources. Actors known within the department as leading men and women graciously accepted smaller roles and made them shine.

While the show started somewhat weak, it steadily gained momentum as the night progressed. Opening scenes were saved by an expressive performance from Phil Borg as Brabantio, whom you loved to hate as he casts Desdemona aside like a sweaty PEC towel.

Particularly enjoyable in the first act was the celebration scene featuring Langley, Dault, Michael Rode as Montano, and Jeff Berezny as Cassio, in addition to assorted supporting cast members. The scene began in a comic tone, with actors chugging fake wine like thirsty revellers at an Aberdeen kegger, yet the transition into one of the most challenging stage fights of the play was utterly seamless. Berezny, who moments before had the audience in stitches, was the very picture of remorse after wounding Rode’s Montano. Berezny gave a consistent and impressive performance throughout the night, never overplaying his noble character. His performance pointed to an actor with great range and control.

The company made an ambitious choice in their selection of Othello. Several scenes required intricate stage-fighting choreography. Karry took another risk filling one of his lead roles with a relatively inexperienced actor. The show was not without slight snags; ends of lines were occasionally dropped, though flawlessly memorized. In a final estimation, however, the risks paid off in the production. Ahmed Kayssi—for his part—shows great promise as an actor, and hopefully will be seen again with Single Thread.

Othello stands up as an impressive show, very well-directed with a stunning cast, and is a credit to all those involved. The show allowed Single Thread to display their range of ability, contrasting what Karry called a “stripped down, straight up the centre Shakespearean tragedy” with last year’s high-concept Julius Caesar.

Othello gave the company the chance to showcase their actors’ talent for character acting without the support of head spinning environmental theatre techniques. With or without embellishment, this is a company which creates original and interesting theatre.

Godot Worth The Wait

by Cara Smusiak, Queen's Journal (May 11, 2004); Photo by Andrew Norman

Gogo brushes off Lucky

It sits on your chest like a heavy weight that won’t move, no matter how much you struggle. It weights you down until you think you’re going to scream.

It’s the story of hopelessness and despair, a story of perspective, and of unending disappointment in an unforgiving world. Waiting for Godot by Samuel Beckett, a Single Thread Theatre Company production, was at once wonderful and horrid – just as it was meant to be. Punctuated by comic interplay between the characters and morose talk of suicide, from the beginning the play is both funny and sad.

Picture it: two men – Vladimir “Didi” (Alastair Forbes) and Estragon “Gogo” (Luke Davies) – waiting for this man, Godot, to show up and save them from their miserable existence. Of course, there was always a reason why Godot couldn’t make it and you know he’s never going to come, but still they wait … and wait … and wait …

Enter Pozzo (Mo Bock), a wealthy and forceful man carrying one end of a rope with the other end tied around the neck of a human slave, ironically named Lucky (Andrei Drooz). As the scene unfolds, Lucky is ordered to dance and to “think”, or spew nonsensical, intelligent-sounding verse, for amusement of Didi, Gogo and Pozzo.

With feelings of despair and deep sadness, audience members waited for someone to step up and say what these characters were doing was wrong. By the end of the first act I was so angry that I almost left the theatre.

Still, I petulantly sat and watched act two begin, listening to several audience members laughing, all the while feeling an overwhelming anger, not only toward the story but towards the audience members for daring to laugh at such inhumanity. Eventually, I too had to laugh at what could only be intentional comic relief, but my laughter was a long time coming.

The second act presented an alternative view of the situation, in which Gogo, Didi and Lucky remain the same, but the authoritative Pozzo is now an old blind man. Pozzo is the now the helpless soul but Lucky, having been tortured, does not attempt any sort of emancipation from his master.

In the end, all that is decided is that Gogo and Didi will once again wait for Godot, their saviour – and yes, the parallels between God and Godot are obvious.

Still, the production was enormously successful, despite some major flaws with the set design. The uneven, textured terrain extending in front of the darkened entrance to the theatre caused many people to stumble as they entered to take their seats. Possibly the greatest weakness with the set was the incident involving the falling sky during the first act, which had nothing to do with Chicken Little and everything to do with poor design and/or installation.

The one saving grace for set designer Dan Rider was the use of brilliantly intertwined large branches to create the illusion of a soaring tree. Combined with creative use of blue lighting, the stunning shadow of branches cast upon the backdrop had the theatre abuzz with compliments.

But the greatest compliments have to go to the actors. Luke Davies performance of Gogo was outstanding. The disenchantment, fear, frustration and suicidal tendencies that plagued his character were flawlessly and poignantly delivered.

With an elastic face, reminiscent of Jim Carrey, Alastair Forbes’ (Didi) seemingly endless facial expressions lent a comedic air to the production that was necessary to dispel some the deep underlying sadness of the story.

Appearing courtesy of the Canadian Actors’ Equity Association, actor Mo Bock (Pozzo) was a commanding force who brought years of professional acting experience to this production. His booming voice and robust nature blended to create a wonderfully rich and commanding presence even in moments of helplessness.

When the panel of the sky fell and Forbes had appeared stunned, Bock’s experience shone through as he calmly and precisely asked the younger actor, “Fix the sky, will you?” which evoked a burst of laughter from the audience and effectively brushed the incident aside.

But there is a special place reserved in actor heaven for people like Andrei Drooz (Lucky). With a rope tied around his neck, Drooz played human slave to Bock’s Pozzo. At the mercy of his master who conditioned him into a ferocious and yet submissive being, Drooz stumbled around with legs bent at awkward angles. His head hung at extreme angles, his eyes rolling into the back of his head and his mouth agape, with each wheezing breath, Drooz swayed in an effort to keep himself upright. His portrayal of a physically and emotionally battered and beaten man was at once horrific and beautiful.

Weighing heavily on the mind and the soul, Waiting for Godot left the audience exhausted, drained, humbled and maybe, just maybe, feeling a little more blessed.

Superb Performances in Godot: The wait is long and the weight is heavy in Single Thread Theatre Company's Waiting for Godot

by Joy Yokoyama, Kingston Whig-Standard (April 17, 2004)

Samuel Beckett's classic is one of those plays that is more about concepts and philosophy than, say, entertainment. Its dialogue is just as good - if not better - studied instead of heard.

But some superb performances pull off a production that will certainly please fans of this play in particular and high-minded theatah in general.

The story - and that term is used generously - follows two friends who are waiting for the mysterious Godot to appear. Why they're waiting is unclear, though there's a suggestion that they'll be punished if they don't. How long they wait is also unclear. To Vladimir (Alastair Forbes) and the audience it seems to be two days, but Estragon (Luke Davies) isn't so sure.

While Vladimir and Estragon wait, they become bored and try to pass the time with various games and conversations that mean nothing and everything at the same time. Is there a rock that can't be seen in the boot that causes pain? Has this tree sprouted leaves since yesterday? Did the events of yesterday actually happen yesterday?

Both dressed like Charlie Chaplin, Vladimir and Estragon mull absurdities between long pauses that make the wait for Godot seem extra long for the audience as well. If this were any other play, the actors would appear to have forgotten their lines. But this is Waiting for Godot, and they're just waiting. And waiting.

Some Chaplinesque slapstick-style comedy is thrown in, too, which does help to liven the wait. The ever-hopeful, though terribly high- strung, Vladimir and the pessimistic, though terribly apathetic, Estragon form opposite ends of the same simpleton, fumbling with physical ham in his dissection of questions both philosophical and mudane.

Forbes in particular has a knack for fearful and confused facial expressions.

The wait is interrupted twice by the arrival of Pozzo and Lucky. Pozzo (Thousand Islands veteran Mo Bock) is a self-important slave master in a foul mood. Bock plays up the role with enough shouting and grumpiness to persuade us he'd eat a small child who talked out of turn.

As Lucky, Andrei Drooz is a fortunate choice. Drooz gives an astonishing performance as the tired, beat-upon slave with turned- in legs and a weak neck. His dissertation on philosophy when told to "Think, pig!" spikes the production with its greatest moment.

And what does this all mean?

Are Vladimir and Estragon essentially waiting for a God who never comes? Do they represent Everyman in his quest to "always find something to give us the impression we exist"? Do they represent the two thieves on the crosses who died with Jesus as is suggested early in the play? And what does Pozzo (who is taken for Godot initially) represent?

These questions have surrounded the play for years and will continue to swirl in the minds of the kinds of theatregoers who delight in de-puzzling its absurdities and then pondering them.

But, to borrow a line from the play, "I've been better entertained." Just a warning.

Rating: 3 1/2 (out of five)

Classic Greek comedy Lysistrata given new life

by Cara Smusiak, Queen's Journal (March 19, 2004)

Sex is great. Sex is mind-blowing. Sex is the best damned thing since sliced bread. Can you imagine what it would be like to deprive the world of sex? Can you even think of any reason why someone might want to?

Lysistrata is a classical comedy by Aristophanes, named after the protagonist who decides that the women of the opposing states in Greece must withhold sex from their husbands until the men reach an agreement to end the Peloponnesian War.

The production on its own is bound to be entertaining; when the Single Thread Theatre Company puts on the production it’s downright hilarious.

In the opening scene the women gathered at the request of Lysistrata at the Acropolis, and she told them of her plan to withhold sex from the men until they reached a peace agreement. At first, the women were skeptical, most outright refusing to give up sex, but eventually they saw the beauty of Lysistrata’s plan and pledged their allegiance.

They took over the Parthenon and thus effectively took charge of the finances of Athens—the temple housed the money for the state.

The rest of the play features “quickies,” visible erections, handcuffs, drunken advances, near-fistfights, and all the good old debauchery and hijinks one would expect of ancient Greece.

The third scene of the production in particular was every man’s fantasy. Women in skimpy pyjamas engaging in pillow fights and sensually sucking on lollipops enticed the men as Lysistrata urged them to reach an agreement. The men, predictably, were putty in her hands.

Although all of the actors were outstanding, there were a few in particular that stood out.

Interestingly enough, the Magistrate reminded me of Friends’ Matthew Perry. His facial expressions, tone of voice, body language and even his appearance were shockingly similar to the Hollywood actor.

Sasha Kovacs presented a wonderful portrayal of a headstrong little old lady. She could go from the sweet grandmotherly figure to an enraged woman in a split second.

Dave Messer’s portrayal of the bitter old man was brilliant. Hunched and shaking, he became an incredibly wonderful character that was extremely transparent, but also completely endearing.

Stephanie Ellerbeck as Lysistrata was the brains behind the operation. She ruled the women and the men with a cunning mind and a strict set of rules. Her commanding presence and serenity were evident in her speech and body language. She was a woman to be reckoned with.

But it was the performance of Kim McLeod that stole the show. Her portrayal of Kalonike, a woman who equally enjoys her men and her drink, was stellar. From her exaggerated struggle to accept giving up sex to her flirtatious exit, McLeod shone from beginning to end.

At any given moment she could be seen twirling her hair, chewing her gum, swinging her hips or scrunching her skirt; she was the quintessential ditz, but she was so sweet and comical she had the audience eating out of the palm of her hand.

The only cause for complaint with this production was the set design. Its simplicity was commendable, but it only loosely resembled the Parthenon. Columns are an essential element in any temple, but here they were replaced by wide spans of plywood in between openings.

The inclusion of a railing that was too low to have any functional purpose was really a poor decision. The railing could have been omitted had the steps spanned the entire temple front as they do with the Parthenon. By doing this, it would not only have made the set more historically correct, but it would have allowed for better access to the temple.

In addition, the marbleized paint technique was too dramatic for the relative closeness of the audience. With a bit more subtlety in choice of colour ranges, it could have looked much better.

In defense of the set designers, these modifications may have been in keeping with the modernized script, bringing the set closer to the look of a modern home with a front porch.

As a whole, the production was phenomenal. Funny, witty and intelligent, the wonderfully-adapted script was enhanced by the immensely talented actors that brought it to life.

But above all else, Lysistrata delivered the sexiness it promised and taught us that sex does indeed make the world go ‘round.

Review: Julius Caesar

by Jenn Stephenson, Shakespeare Bulletin (Volume 22 | Number 3 | Fall 2004)

Presented by Single Thread Theatre Company at Chernoff Hall, Kingston, Ontario. October 1-5, 2003. Directed by Jonathan Langley. Assistant director Kimberley McLeod. Dramaturgy by Liam Karry. Costumes by Robin Willis. Sound by Paul Hopson. Media by Ryan Graham. With Liam Karry (Caesar), Michael Rode (Brutus), Graham Kosakoski (Antony), Andrei Drooz (Cassius), Maggie Blake, (Portia), Kate Hodgert (Calphurnia), Ashleigh Rains (Decius), Simon Cheung (Casca), Phil Borg (Cinna), Amber Mills (Lucius), Aaron Stern (Octavius), Drew Mitchell (Publius), Dave Messer (Pindarus), Kevin Millington (Soothsayer), Aaron Guravich (Lepidus), Steph Lang (Artemidorus), Jessi Linn Taylor (Tour Guide), and others

Transposing Rome of the first century BC to Rome the ultramodern pharmaceutical research and development corporation, this contemporary-dress production made innovative use of found space in and around Chernoff Hall, the newly built chemistry building on the campus of Queen’s University. The unusual choice of venue is typical of Single Thead Theatre Company. This is a company that has an interest in presenting classical works in non-traditional spaces and in non-traditional arrangements. In this case, the decision to mount the show in Chernoff Hall had a significant impact on the mise en scène as it related to the theme of political ambition as emphasized in the production. To reflect on this theme, cinematic techniques of framing were applied in the theater. By manipulating the gaze of the audience “camera” through careful staging of the actors in concert with the architectural environment, the theme of the appropriate scale of the human was continually foregrounded.

The play began with the audience being hustled outside to greet the arrival of Caesar and his entourage in a black SUV. The visual track of the audience began at the top of a long flight of stairs and a broad walkway running parallel to the building down to the road, easily seventy-five meters away. We first saw Caesar at this distance. In this long shot, the human figures emerging from the vehicles were framed against the backdrop of the surrounding buildings, the road, and the lake behind. As the audience hurried down the steps, the actors came briskly towards us, shrinking the “camera distance” as the shot zoomed in. When they brushed past us, the frame panned to a reverse shot of these retreating forms and we ran to follow them. Back inside for the next scene, the scope of the visual frame changed radically. Contained between the glass doors leading outside and the atrium railing, we were compelled by the space to cluster together and view Brutus and Cassius drinking coffee in medium close-up, as we peered between or over the shoulders of those in front. Although set at a very unusual proximity for theater audiences accustomed to a greater viewing distance, the intimate scale of the scene, so typical of Hollywood films, illustrated its very ordinariness: two men discussing office politics at the coffee station. In these two juxtaposed initial scenes, Caesar and Brutus were framed quite differently in terms of their relationship to the audience and to the architectural environment. Without professing a firm conclusion, the production used opposing visual scales to immediately frame our consideration of the ambitions of these powerful men.

In addition to the manipulation of “camera distance,” the mise en scène of this production also made use of something like camera angle to further interrogate the question of individual influence and the correct limits of political power in a collective, corporate context. The central space of Chernoff Hall is a truncated oval-shaped multilevel atrium, reminiscent of a Roman amphitheater in glass, polished metal, and blond wood. For the funeral orations of Brutus and Antony, the audience was positioned along the lower level, participating as Roman plebeians. The two men spoke from a rostrum two levels above us diametrically across the open space. Viewed at this severe low angle, the figures of Brutus and Antony were significantly foreshortened, evoking heroic civic statuary. The power dynamic of this arrangement, with the mute and nominally impotent audience at the bottom and the two competing leaders above, was elaborated by the placement of the citizens who commented on their speeches: they stood on an interim level. At the point when the corporation members/citizens beg Antony to read Caesar’s will, Antony left the far upper level to immediately re-enter down at the level of the crowd. The now flatter angle reduced the distortion of his figure, making him seem more human and showing him calculatedly recognizing his dependence on popular support. The tension between individual power and the sanction of the people was expressed visually through the changing relative perspective of the raked angles in this scene.

After the murder of Caesar and the formal eulogies in the atrium, the mood of the production shifted abruptly as the formerly clinical efficiency of Rome corporation dissolved into chaos. Security agents assaulted our tour guide and prevented our attempt to exit the building. We witnessed the mob-killing of the conspirator Cinna at close range. (In Shakespeare’s text it is Cinna the poet who is murdered for sharing a name with the conspirator Cinna. This production featured significant textual cuts and compressions and so here the victim was truly Cinna the conspirator himself.) As he lay on the floor, we were compelled to step over his corpse as we hurried along a dimly lit hallway in our effort to escape the now dangerous corporate coup. It was from here that we witnessed the parley on the battlefield at Philippi. Outside in the now dark but artificially it quad, one floor below our second-floor vantage point, the army of Antony and Octavius met the army of Brutus and Cassius. While the dozen miniature figures gestured mutely on the field, the corresponding dialogue was broadcast indoors via speakers. Up to this point, the viewing of silent scenes through glass had been recurring motif of the production. Here, however, as we looked out the window, the additional cinematic disjunction between the close sound and the far away figures had the effect of making this epic martial meeting simultaneously both grand and paltry.

The final scenes of collapsing authority were set again in the atrium with the audience on the main level but this time facing away from the open upper levels, only able to see steps down and into the basement area. On these steps, Cassius was killed by Pindarus. Sharp-shooters with laser sights were ranged above as Brutus took his life on the lowest level. From this perhaps clichéd downward angle on the defeated conspirators, our gaze was directed upward to the horizon line as Antony and Octavius reestablished order. The two men entered through the audience from behind, circled the audience to cross to the far side of the main level and positioned themselves under the Rome corporation banner. This was the first time in the play that we saw Antony square on and facing the audience. In the visual language of the camera frame, the message of the restoration of order was clearly communicated through this balanced, medium distance shot. The return to the “normal” theatrical perspective of the eye-level, medium-distance view supported Antony’s closing assessment of Brutus, “This was a man,” and reflected it back on himself as he stood before us, neither more nor less than a man.

Happily Enjoying the Ides of March

by Grace O'Connell, Queen's Journal (Oct 3, 2003); Photo by Emily Maclaurin-King

Lovers and conspirers in the Single Thread's Julius Caesar.

Remember the scene in Julius Caesar where a Chevy Avalanche brings Caesar to a crowd of microphone-toting paparazzi? Or the one where Brutus sits down to his laptop in a corporate boardroom? No? Well, maybe that is because Single Thread’s adaptation of Shakespeare’s classic has presented the play with such originality and creativity that it is an entirely new piece of work.

The concept that separates this play from so many mundane modernizations of Shakespearean works is the unique presentation of the play as a walking tour in and around Chernoff Hall. The building itself becomes part of the art, as it is transformed into “Rome,” a modern super-corporation specializing in everything from pharmaceuticals to legal work. In this Rome, the themes of corruption, pride and omens are still as important as ever, but they are set against a backdrop of back-stabbing businessmen, plots conducted over coffee mugs and stunning multimedia displays.

The surprise for playgoers as they enter the building is that they themselves are part of the action. Greeted by techno music and tour guides dressed in brisk, crisp business attire, the audience is informed that they are rookie recruits at Rome and are being taken on their first orientation. The guide’s candid though business-like chatter between locations is the only deviation from the Bard’s original script, although some scenes are presented out of sequence in order to align more closely with director Jonathan Langley’s vision for the play.

Making various stops in and around the building, the “tour group” first witnesses ‘CEO’ Caesar’s triumphant return to Rome. Soon Cassius and Brutus appear and gossip over coffee about the scandalous offer the crown gave Caesar. Immediately, Cassius (Andrei Drooz) was instilled with the charm, dignity and appeal that only a true villain can capture. As he poured poison into Brutus’ ear, he maintained his slick businessman’s exterior.

Michael Rode’s Brutus only got stronger as the play moved along, revealing glimpses of his tortured state over his betrayal of Caesar. He managed to create sympathy for a murderer and stole the show in his emotional death scene, enacted on the ground floor as a captive audience looked down from the second floor railing. The effect was unbelievably cinematic, as fatigue-clad snipers leaned over third and fourth floor balconies to focus handgun laser-sites on Brutus’ chest.

The two actors were a perfect match and a testament to Langley’s suburb casting of the show. The rest of the cast was no less impressive. Dramaturge Liam Karry’s Caesar was as proud, commanding and charismatic as any Roman could have wished to be. He was particularly striking in his appearance as the ghost, emanating a righteous anger that was almost tangible. Graham Kosakoski’s Mark Antony was a standout performance. With tragic nobility, electric energy and a voice that commanded the heart of every “Roman,” he was truly compelling.

These were just a few of the standouts amongst a universally excellent set of performances.

Many scenes had a cinematic feel thanks to the unique setting.

Caesar’s funeral scene itself, spread across the third and fourth floors, was like an unforgettable movie shot. Langley managed to achieve this technique again during the battle at “Philippi.” The scene was truly a work of art; as the audience was directed to look out through the massive windows along Chernoff’s east wall, the conspirators spread across the north side of the field to face off against Mark Antony, Octavius and the loyalists. Speeches were piped into the building through a sound system, allowing the playgoers to hear the words accompanying the action going on far below them.

Langley acknowledged that the play was very “technically demanding” and expressed heartfelt thanks to his crew, who “have donated their lives over the past month and a half.” Rehearsals began—unbelievably—a mere four weeks ago, on Sept. 1. The casting was completed last April and actors were sent home for the summer with the hefty script to memorize.

“I’m infinitely lucky to have a cast that can do this,” Langley told the Journal. He was quick to mention that his assistant director, Kimberley McLeod, has been “integral ... she kept all our feet on the ground.” The idea had been in the back of Langley’s mind since the 10th grade, although his original focus was a political modernization. Over time, it transformed into a more corporate setting, and Langley and Karry spent the past summer writing and polishing the final adaptation.

“I wanted to take theatre out of the museum ... to blend the theatrical and the cinematic,” Langley said.

The original set was Goodes Hall however, after seeing Chernoff, Langley knew he had found the perfect backdrop.

It was the unique ground plan that allowed him to have a sense of things going on all around the viewer at all times. The intended effect was achieved with flair; the atmosphere was one of intrigue and treachery. Langley wanted to always have the audience wondering, “What’s going on behind that closed door?” which is exactly what happened.

Although it’s a long time to stand, and it got a little chilly outside, Single Thread’s Julius Caesar is well worth these small inconveniences. The production was so unique, so well-acted and so smoothly put together, that it’s even worth grabbing some aspirin and water and heading to the Sunday matinee after Saturday night’s homecoming. The curtain closes Sunday night.

Needless to say, the show received a standing ovation.

Et tu, William Shakespeare?
Julius Caesar for the 21st Century

by David Missio, Queen's Journal (Sept 26, 2003); Photo by Brett Bergmann

The cast of Julius Caesar running through their lines.

After seeing Baz Luhrman’s rendition of William Shakespeare’s Romeo + Juliet I had faith that Shakespeare could still be re-interpreted within a modern context to great success.

Many still stand by the thought that Shakespeare should remain untouched, but the Bard has long since ceased to be merely a theatrical playwright having been thoroughly embraced by popular culture. While purist representations of Macbeth will always remain valid, Rick Miller’s MacHomer, a one-man show enacting MacBeth using more than 50 Simpsons impersonations, is quite possibly the greatest thing I’ve ever seen.

Though lacklustre attempts have been made—Julia Stiles as Ophelia and Desi Brable?—the door has been thrown wide open for pop re-imaginings of Shakespeare. Beginning this October, the student-run Single Thread Theatre Company will throw in their hat with a modern rendition of Julius Caesar.

“No longer do Cassius and Brutus scheme in the high court, but in the dangerous and treacherous world of corporate enterprise,” claims the press release.

In the play, Rome is no longer just an empty stage to hold the action, but a burgeoning corporation, teeming with ambitious employees looking to better themselves within the business world.

The evils of self-importance and single-minded individual success within the corporate world come to light as the line between nobility and pride becomes irrevocably blurred while tensions mount, bringing confrontations to a fever pitch.

If the innovative approach to the play is not enough to strike some interest, the role of the audience undoubtedly will. While many of us are used to quietly finding seats in a dimly lit theatre, prepping ourselves for a passive experience of entertainment, the Single Thread Theatre Company has decided to fully immerse the audience in the play. Director Jonathan Langley intends to do away with the conventional seating, making full use of the dynamic nature of the play and the space within the beautiful new Chernoff Hall.

“We are going for a sense of hyper realism,” Langley said, “We can’t just sit back and say that this is just a play ... the idea is that it’s a living, working environment.”

With audience members being introduced to the fictional world as entry-level position drones, they are given a guided tour of Rome’s premises.

“The mobility allows for a lucid set in which the audience becomes immersed,” states the press release.

“It’s been pretty intense technically,” Langley said. “The idea we’re going for is the creation of an entire world.”

The Single Thread Theatre Company is an AMS club founded in the spring of 2003 with club president Liam Karry playing the role of Julius Caesar.

The non-profit organization’s goal is to bring Canadian and classical pieces to the stage for the enjoyment of the greater Kingston community. Their first performance was Zastrozzi: The Master of Discipline this past April at the Baby Grand Theatre.

New theatre group stages Zastrozzi:
Company of students mounts tale of revenge, philosophy and swordplay

by Greg Burliuk, Kingston Whig-Standard (Apr 30, 2003); Photo by Brett Bergmann

Zastrozzi speaking, Matilda listens

The Single Thread Theatre Company makes its debut tonight with the flash of swords and a pile of corpses.

It's presenting the violent George F. Walker play Zastrozzi: The Master of Discipline at the Baby Grand.

First staged in 1977, Zastrozzi has the melodramatic plot of an opera, lots of swashbuckling swordplay, and some heavy-duty philosophizing.

Director Liam Karry staged some scenes from the play earlier this year at Queen's University. The results were so successful that he and several others decided to start their own theatre group.

"There are lots of great companies that produce student work and there's a bunch that are involved with musicals, but there is a lack of Canadian and classical scripts being produced by our peer groups in the city," says Karry.

The group also plans to mount a production of Shakespeare's Julius Caesar in the fall.

"There's a lot of theatre-going people in the city, and we saw this as a chance to push our work into the larger community. We can afford to do it because it doesn't bother us to do it on a shoestring."

At first glance, Zastrozzi seems like a tough first assignment because of its physical nature. Fights, especially swordplay, are tough to stage, but Karry took a course at Fight Directors Canada and got Queen's grad Dorian Foley (now a fight director at Stratford) to choreograph fight scenes.

"They're quite phenomenal," Karry says. "The swordplay scenes were the most time-consuming. I think the reason stage violence in Kingston fails is because it's not rehearsed enough. You have to do it every single day through the whole rehearsal so that the violence becomes ingrained in muscle memories. That way you can have a safe and good scene and concentrate on the acting."

Karry says productions of this play often fail because directors get too caught up in the fight scenes and forget that "the play is trying to get at some fundamental questions that are very timely - considering what's going on in the world today."

Walker was playing with the genre of melodrama, says Karry, and some of the ideas get buried by the melodrama.

Walker borrowed the idea of Zastrozzi from a novella of the same name by the poet Percy Bysshe Shelley, but Walker apparently never read it. Set in 1893, it's the story of Zastrozzi, a master criminal who seeks revenge on Verezzi, who killed his mother.

"Zastrozzi doesn't believe in God or humanity," says Karry.

"At one point he says, 'Life is just an arbitrary string of meaningless events and the only way to get by is to forget you know that. Mankind is weak, the world is ugly. The only way to save them is to destroy them both.' He's an existential nihilist."

Verezzi's servant, Victor, however, is a man of considerable fibre who believes the new century will be a good one and that people are generally good.

Andrei Drooz stars in the title role. Michael Rode plays Victor. Also starring are Aaron Stern, Jonathan Langley, Lindsey Higgs and Jacquey Taucar.