Toronto Star, December 28, 2003
Pericles leads year's Top 10 plays
By: Richard Ouzounian
When we look back on 2003 in Toronto Theatre, we'll probably not remember it as one of our favourite years, for a variety of reasons.
Between SARS, West Nile, blackouts, wars and plagues of locusts (just kidding about that last one), it's a wonder that any of our theatres are still standing.
Hardest hit were the commercial managements such as Mirvish Productions and our two festivals, Shaw and Stratford. Through government support, clever marketing and some highly dramatic moves (Mamma-Mia! closed down for three months), most of our major players were able to keep their heads above water.
Stratford has even posted a small surplus on the season and while Shaw hasn't announced its final figures, its revenue for the season is at least $1.5 million behind the previous year's.
And that's just economics. What about quality?
Well, once again, we were faced with a year of mixed blessings. There were many shows and performers to cheer, but there were a distressing number that deserved boos and hisses. It seemed that no organization was exempt from the most pervasive virus of the year: bad theatre-itis.
Stratford had some memorable productions, but it also gave us some of its least worthy efforts in recent memory, including a production of The Hunchback of Notre Dame that veteran Stratford watchers (yours truly included) called the worst show they could ever recall.
Shaw gave us some minor gems, but its big shows such as The Coronation Voyage failed to ring the bell, leaving the flagship Festival Theatre half empty at many performances.
In town, Theatre Passe Muraille and Buddies In Bad Times continued the losing streaks they have been on almost uninterrupted for the past few years, while CanStage, Soulpepper, Tarragon and Factory mixed wheat and chaff, but alas, not always in pleasing proportions.
We also faced another distressing trend: the vanity production. Theatrical wannabees got their parents to mortgage their houses or cough up $450,000 so their offspring could produce atrocities such as Reservoir Dogs and Cabaret.
But, hey, it's the holiday season. Let's concentrate on the things worth remembering.
In putting together a 10 Best list for the year, I made several decisions I thought I should explain. Shows such as Elaine Stritch At Liberty were excellent, but they represented an import rather than a homegrown product and I left them off the list.
Likewise with revivals. Adventures Of A Black Girl In Search Of God is as good as it was the first time around--possibly better--but it seemed unfair to list it two years in a row. With all that in mind, here are 10 shows I thought truly worth remembering from 2003, starting from the top.
Pericles - This was one of the most imaginative shows Stratford has brought us in ages, and the marvel is that it happened with a seldom-produced piece of Shakespeare's. The direction of Leon Rubin, design of John Pennoyer and performance in the title role of Jonathan Goad all made this a piece of theatre that stirred the heart as much as it pleased the eye.
Happy End - The Shaw Festival came up with a surprise winner in this minor work by Bertolt Brecht and Kurt Weill. Performed with real bite and snap, especially by Blythe Wilson and Benedict Campbell, it managed to be entertaining and thought-provoking at the same time.
Romeo And Juliet, Remixed - I never thought that a zappy adaptation of the Bard's classic love story would work as a dance club extravaganza, but I was wrong. Laura Mullin and Chris Toley masterminded this multimedia happening that worked both as theatre and as event. We need more bold productions like this.
Cookin' At The Cookery - CanStage came up with a winner with this sizzling musical revue that allowed Toronto audiences an opportunity to express their love for Jackie Richardson. This veteran performer stopped the show time and time again as blues legend Alberta Hunter. It was a feel-good evening of the best kind.
Present Laughter - Brian Bedford and Noel Coward are usually a winning combination and this Stratford production was no exception. Directed with flair, designed with taste and performed with style, it managed to be high comedy of the highest sort.
Widowers Houses - Shaw's first play came to life under the supple direction of Joseph Ziegler, who revealed a genuine knack for Shavian drama. Having a beautifully modulated leading performance from Jim Mezon and an elegant design from Christina Poddubiuk didn't hurt matters, either.
Helen's Necklace - Here's a Tarragon production that glowed from top to bottom. Carole Frechette's script, Eda Holmes' staging, Andrea Lundy's lighting and the superb duo of Susan Coyne and Sanjay Talwar made this poetic rumination on love and loss a real theatrical jewel.
Sunday Father - Adam Pettle remains one of our most interesting young playwrights and this script about brotherly love (and enmity) showed him at very near his best. Nice performances from Jordan Pettle and Ari Cohen made up for a somewhat stilted production by David Storch.
Love's Labour's Lost - Antoni Cimolino gave us a clear, moving and often hilarious reading of this early Shakespeare comedy. No gimmicks, no shtick, just the play - nicely acted. Santo Loquasto's design shimmered and only some unsuccessful comedy scenes kept it from perfection.
Hockey Mom, Hockey Dad - A small gem, but a true one from Factory Theatre. Michael Melski took the growing relationship between two single parents who see their sons through a hockey season and made it real and touching. Rosemary Dunsmore's direction and the performances of David Ferry and Irene Poole assured that this was one to cherish.