An intense 75 minute offering from Montreal choreographer, Marie Chouinard, left the audience questioning heaven and earth…and why a giant ball of yarn being birthed from a tent was so unsettling.  Drawing inspiration from famous Dutch painter, Bosch, Marie brings to life scenes from 1504 painting, The Garden of Earthly Delights. A garden of bliss, a scene of putrid hell and a scene of religious redemption; Chouinard took from Bosch’s powerful images to create an even more powerful stage offering.

First act The Garden of Delights, taken from the central panel was by far the most enjoyable for the agnostic among us. Naked, carefree people having a lovely time relaxing on the grass, bathing in water, eating fruit, exploring…sounds like a lovely day to me! Things started to get a touch more tense as we journeyed up to focus on the top section of Bosch’s central panel, depicting human development and advancement. By act two, we were in hell. Literally.

Hell was an interesting a place as Bosch presented in his Renaissance painting than it was on stage. Cleverly devised, there was a sense of sick play at work, and, despite the ear laborious ear splitting groans, was an enjoyable explosion of creativity. After some time, I began to think that my life is just one yellow wellington boot, strapped to a forehead, being repeatedly banged against a surface as a rudimentary drum.  I can see why one would turn to Jesus in act three. I would join a religious cult if it meant an end to the eternal banging.

The real point of discussion here is the wildly talented dancers. It is always a treat to see bodies in motion and the bodies on display here were works of art in themselves. The way the troupe moved, flexed and contorted was endlessly impressive. While the solo and double motifs were impressive, the times that the piece became most captivating was when they moved together in unison.  The energy and the emotion truly radiated as the tribe created such engaging images. Obviously the dome moment was a huge crowd pleaser, too.

Like religion, this piece was somewhat arduous to experience, but it is culturally significant to Bosch’s work and also a welcome display of talented dancers. It has to be said that my feelings towards the piece are largely tied up in my own personal feelings towards religion, but it does offer some thought provoking insight into man’s relationship with environment and greed, and what that may possibly mean for ones future, be it in an afterlife, or the state of the earth if it continues to be abused for years to come.

Intense. Very intense.

If you get the chance to see this piece in a future engagement across Canada, then I would definitely recommend it as food for thought.

***

Visit their website for info and tickets for Hieronymus Bosch.

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I am British, I have only lived in Canada for 18 months – I know my history reasonably well, but I had no idea how deeply the country was, and is still, affected by its British predecessors and how strongly the divide between Anglophone and Francophone Canadians is truly felt. It is this tension that paints the backdrop for 887, an autobiographical play about Lepage’s task to learn a poem, delving deeply into his childhood in Québec City to help him enhance his memory.

I mentioned theatre magic, and it was truly here in abundance. Set pieces unfolded from what looked like thin air, projections and live action cameras were used to further assist the mood. Lepage’s sense of play reminded me of why he was so inspiring to me throughout my early adulthood. But, somewhere in the sense of wonder he filled the room with, there were twinkles and tinges of sadness that extended far beyond nostalgia. I understood, too. When we think of our childhood, it is a place so locked into such a specific time, and no matter how we try, we imagine, we play or pretend, we can never go back. It will always be just that inch too far out of reach.  Specifically Lepage’s memories of his father (who’s death date I am almost certain was the number late on the black cab he drove through the actor’s mind) were most touching of all. He seemed to be a man that shaped Lepage, more so than his surroundings in an increasingly tense Québec City; he was, after all, the man that gave him his English tongue.

Lepage’s English tongue battles for stage time with his French, something that culminates at the end of the play with the much discussed and iconic poem, Speak White. As he delivers the poem he so long struggled with throughout the play, Lepage is most alive, channelling whatever he lost of himself in Québec.

Beautiful, magical, surprising, engaging; Lepage’s story might be different from our own but it was nice to sit inside his head for two hours as he unravelled his memories in front of us. For me at least, it made me think that, given enough time, there might just be a moving box of unfolding compartments containing my own shaping memories, just waiting to be pulled open.

It was a delight to visit 887 Murray Ave. I hope that Lepage’s legacy continues to grow from it.

887 is a must see and will be running at the Bluma Appel Theatre until the 16th April.

The post Robert Lepage 887 at the Bluma Appel Theatre appeared first on Toronto Guardian.

Let’s get this out of the way with first, shall we? THE PLAY IS LONG. At just over three hours long, with an interval, it is important you have your wits about you, have some liquid and get comfortable. It is worth it though; Chimerica is a journey you want to go on.

Based on the infamous image of a protester, holding nothing but shopping bags and stepping in front of a military tank in Tiananmen Square, Kirkwood spins her tale of the photographer who took the picture and the profound affect that day in 1989 would have on him, and the Chinese friends he made, forever.

The production feels very authentic, with excellent snapshots of Beijing and New York providing juxtaposing backdrops to the action; both cities are busy, but one is forced to breathe in a murderous fog and labours under a communist government who will not allow for opinions to be voiced.

Evan Buliung and Paul Sun-Hyung Lee work well as photojournalist Joe Schofield and English teacher, Zhang Lin. Doug Mckeag and Laura Condlln make for good supporting actors, as do the rest of the diverse ensemble.

Director, Chris Abraham, and designers Judith Bowden and Decon Dawson, have responded well to Kirkwood’s text. I particularly enjoyed Bowden’s rotating set, which made the onslaught of scenes flow nicely.

Kirkwood reportedly wrote Chimerica over the period of six years. For a young writer, I can imagine she was very close to her writing indeed. There is no doubting that the production provokes deep debate about CHI-MERICA (inter Chinese and American relationships), however I think a little editing to the dialogue here and there wouldn’t go amiss to help pick up the pace in a couple of areas.

Ultimately, Chimerica is a thought-provoking piece of theatre, executed well by Canadian Stage and Manitoba Theatre. Like the characters of Joe and Zhang, it is not 100% perfect, but it has a story to tell and an impact to make.

Chimerica runs at the Bluma Appel Theatre on Front St East until April 17th.

Buy tickets here.

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