The Gazette from Montreal, Quebec, Canada • 62

E4 CULTURE THE GAZETTE montrealgazette.com SATURDAY, JULY 13, 2013 Shakespeare's presence to grow at Stratford fir pat fjj DONNELLY 4" THEATRE -cS r'HL rp -MmM'sh- ft m4 1 Lm 77. (. fj, Matt Alfano performs in a rollicking dance number in Fiddler on the Roof at the Stratford Festival. Tom Rooney's bland Angelo may be a letdown, but this is compelling Shakespeare by a strong ensemble in a richly textured production that just doesn't quite fuse into a stylized whole. Fiddler on the Roof: Donna Feore directs this Broadway classic with special attention to authentic dance numbers and vivid village scenes.

Wentworth, who played Sky Masterson in Guys and Dolls at the Segal Centre last fall, gives an engaging performance as Tevye, the lovable milkman who argues with God. Mike Nadajewski takes the role of the radical Perchik to new heights. The nightmare scene is spectacular. Anyone who loves this musical will appreciate the strong points of this production. Tommy: This is an ear-splitting, often blinding, but otherwise well-executed production of a Pete Towns-hend rock musical that has a handful of memorable songs (See Me, Feel Me, Pinball Wizard) and a thin, creepy book that loses its way A severely traumatized boy named Tommy overcomes the damage inflicted by his dysfunctional family through playing pinball.

The set is spectacular. The singers deliver. Towns-hend fans will love it. When I saw an earlier version, also directed by Des McAnuff, in Toronto in 1995, it resonated. Now, it seems dated.

And the bombardment of the senses overwhelms. Romeo and Juliet: To- pham's Juliet is pitch perfect. But the "original practices" concept imposed by British director Tim Carroll simply doesn't work. There's no use blaming Romeo (Daniel Briere) for not surviving the experiment. Few do.

Except for Mercutio (a dashing, if over the top, Jonathan Goad) and Friar Laurence (Tom McCamus). Shakespeare with the house lights up is not going to become a trend Of the six plays I have yet to see, two (Waiting for Godot and The Three Musketeers) are already open, with the Beckett classic winning rave reviews. Another play, Taking Shakespeare, by John Murrel, starring Martha Henry and directed by Diana Leblanc, begins previews this weekend, opens July 20. Judith Thompson's new play, The Thrill, opens Aug. 13, followed by Othello, Aug.

14, and The Merchant of Venice, directed by Cimolino, on Aug. 15. The Stratford Festival continues until Oct. 20. Call 1-800-567-1600 or visit www.stratfordfestival.ca.

pdonnell montrealgazette.com Twitter: patstagepage During a recent interview in his Stratford Festival office, artistic director An-totii Cimolino enthused so much about the stellar speakers at his newly inaugurated Forum that I had to ask if he was trying to turn the place into a university Not quite, he replied. But he's putting together themed seasons with learning in mind. This season is about "communities divided" and "what happens to outsiders when communities are divided." Hence Mary Stuart, Romeo and Juliet, Othello and other plays about fractured societies. Cimolino said he has already settled on themes for the next two seasons. And there will be more Shakespeare, not less, next year, he promised.

Last year there were only three plays by the Bard, this year there are four out of a total of 12 productions. This is good news for those who feared the removal of 1 Shakespeare's name from the festival title last fall might "signal a declining presence of his plays. Cimolino is in buoyant i Spirits these days as his first as artistic director is -going very well. Box-office i Revenues are up more than 10 per cent, or about 33,000 tickets, compared to this time last 'year. And his own production of Schiller's Mary Stuart is generally considered the play to see, just as his Cymbeline was last year.

But that's not enough to satisfy this ambitious 52-year-old from Sudbury, who arrived at the festival as an actor in 1988 and worked his way up through the ranks, serving as right-hand man to the late Richard Monette, first as executive director, then general director, and staying on to provide stability during the Des McAnuff reign. He's determined to transform the festival into an "immersive" experience with more than 150 events, including concerts, screenings, comedy nights and lectures by the likes of Stephen Lewis and Shawn Atleo (both slated for August), all tying into the theme of the year. He's especially pleased to present The Merchant of Venice and Fiddler on the Roof on the same bill. In the former, Shylock is the despised outsider, constantly referred to as "the Jew," while in the latter, "We all become Jewish when we watch Fid-: dler. Tevye becomes all of our I fathers." (Scott Wentworth will play both roles, replacing CYLLA VON TIEDEMANN strong, self-righteous Mary Stuart.

These two riveting women are surrounded by an exceptional cast that includes Geraint Wynn Davies, as a beguiling Leicester, and Brian Dennehy as the Earl of Shrewsbury. Ian Lake, as Mortimer, stands out within an exceptional ensemble. Arrange your Stratford visit around this play if you can land a ticket. Blithe Spirit: What's a man to do when his ex-wife's ghost suddenly appears on the scene following a seance that began as a joke? Noel Coward's graceful wit is ably served in this delightfully diverting production directed by Brian Bedford. The top-notch cast includes Ben Carlson as the befuddled husband, Sara Topham as his wife, Ruth, Michelle Giroux as Elvira (the phantom who won't go away) and McKenna as Madame Arcati.

Measure for Measure: Director Martha Henry has set this tale of corruption in high places in 1949, adding a provocative suggestion, in the opening scene, that the ruling Duke Vincentio (Geraint Wyn Davies) lives a double life. This places his sabbatical in a monastery and later proposal to Isabella (a remarkably nunlike Carmen Grant) in an entirely new light. Stephen Ouimette is a wonderfully roguish Lu-cio. Randy Hughson is hilarious as the pimp, Pompey. 'Jean? mm the throne, and the fickle Earl of Leicester plays them off againsteachother.CimoIino's masterfully directed production, beautifully designed (by Montrealer Eo Sharp) is based on a 2005 adaptation by British playwright Peter Oswald.

Seana McKenna plays a ferocious Elizabeth I opposite Lucy Peacock's head f' ft, Lucy Peacock, left, as Mary Stuart and Seana McKenna as Elizabeth I in the Stratford production of Schiller's Mary Stuart. that's very important." Now for a whirlwind survey of the six plays I've seen thus far: Mary Stuart: At the heart of Friedrich Schiller's fictional 1800 play lies a cat fight between two high-powered women, Mary Queen of Scots and Elizabeth I. They are cousins as well as rivals for the ailing Brian Bedford as Shylock.) Related forum events include Shylock Appeals (on Oct. 5). in which the wronged character will plead his case before real Canadian judges (including Chief Justice Beverley McLachlin) with the help of top Canadian lawyers.

"They will use what they know of Venetian law and what's written in the play to see whether he was unjustly treated," Cimolino said. Yes, there's a price tag to all of this. "But there's revenue with it, too," he said. "So it balances." The new Stratford daily buses from Toronto are not profitable in themselves either, at $20 for a return trip. He estimates the operation will cost the festival about $50,000 this year.

However, the passengers buy theatre tickets, too. "And it's a great form of advertising," he added, as the buses serve as billboards. Although his contract runs to 2018, succession is already on Cimolino's mind. "There are a lot of stresses in a place like this," he said, "because it's not just one play, you're doing 12 at the same time. I want to make sure I'm able to make a contribution and that I really bring in young, talented Canadian directors, so that there's lots of options for the next artistic director." More of them will be women, he promised, "because I feel director, Amanda Kellock, who understands the play and has drawn out strong performances from the actors rather than make them slaves to some gimmick-ridden concept.

In fact, the few gimmicks she does employ, such as the of use of powder-spewing flowers to cast spells, actually serve the players rather than hindering them. Amy Keith's cobwebfishnet set embedded with lights and flowers is ingeniously designed, the perfect accessory to a park stage. Under these conditions, seasoned actors like Alain Goulem as Bottom, Quincy Armorer as Oberon and TheseusJulie Tamiko-Manning as Titania and Hippolyta, and Daniel Brochu as Puck, thrive, giving us their best shots. Goulem is superlative as Bottom, the egocentric actor who aches to play every role in the play-within-the-play and ends up making a delightful ass of himself. He milks the role for every ounce of its comedic worth, endearing himself to the audience REVIEW Theatre Repercussion 's best park production ever iHL 'V14 4 MAP "4W 3 1 along the way Frankly, I'd go again, just to see him.

Armorer, who has honed his skills at the Stratford Festival, gives Theseus a strong sense of authority, and his Oberon, sporting Medusa dreads, is even more arresting. He adds menace to the mischief of the fairy king. Catherine Lemieux is another standout, ranging from a haunting Cobweb to a hilarious Snug, who must double as Lion and The Wall in the "lamentable comedy" of Pyramus and Thisby. Trevor Barrette wins his share of the laughs as the actor Flute, who must play the suicidal Thisby Danielle Desormeaux's witty turn as Quince, the actor manager, is preferable to her stern, one-note Egeus. The four young lovers (played by Charlotte Rogers as Hermia, Aris Tyros as Lysander, Hayley Kezber as Helena, and Jonathan Silver as Demetrius) become most intriguing when they begin to squabble over who loves whom, employing physical comedy, carefully Although not all of Marija Djordjevic's costumes are equally successful, the casual-elegant look modern athletic wear of the American Apparel kind embellished with wigs, donkey ears, or other accessories blends in well with the setting.

Puck, Bottom and Oberon are the most theatrically attired. Thursday night's opening, which included pre-show entertainment by more Repercussion veterans and a guest appearance by company founder Cas Anvar, was held behind the chalet on Mount Royal. Makeup artists were to paint faces upon request, hundreds of hot deli sandwiches were served without charge, and a 25th anniversary after-party was held later at McGill's Thom-sonHouse. A Midsummer Night's Dream continues at various Montreal area parks, through Aug. 4.

Admission is pass-the-hat. For the complete schedule call 514-931-2644 or visit www. repercussiontheatre.com. PAT DONNELLY GAZETTE THEATRE CRITIC Repercussion Theatre has outdone itself with its 25th anniversary production of A Midsummer Night's Dream. This is the best Shakespeare-in-the-park production the company has ever staged.

Various factors contribute to its success, beginning with the play itself. In addition to being so beautifully written that seeing it on an annual basis (as most critics do) tends to increase rather than decrease interest, this tale of Athenian lovers who stray into the forest and min- gle with the fairies is ideal for outdoor performance. Also, Repercussion The- atre has traditionally been a launching pad for budding artists, hiring recent graduates from Montreal theatre schools. (Which is admirable.) For the 25th anniversary, however, artistic director PaulHopkins has called in Repercussion alumni, bring-' ing depth of experience to the ensemble. And he has hired an upcoming young female VALERIA BARONREPERCUSSION THEATRE Danny Brochu as Puck is one of many fine performances in Repercussion Theatre's A Midsummer Night's Dream.

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