Category Archives: Vancouver

Altar Boyz held over four more weeks; Les Misérables also extends four more shows.

I’m a huge fan of both Arts Club shows that  I’ve reviewed this summer.   Altar Boyz is a pop-heavy 90 minutes of non-stop laughs and fun and while the story of  Les Misérables is  dark and tragic, the individual and ensemble performances are excellent.  I’ve been urging you to catch them both before they close, and now there’s some good news for those who still haven’t had the chance.

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This summer’s Arts Club shows have been bringing in the crowds by the droves, and just last month Les Misérables at the Stanley Industrial Alliance was given a two-week extension until August 2nd to help accommodate their record-breaking sales.

Now the Altar Boyz, playing on the Granville Island Stage, are following suit with their own four-week holdover.  The Altar Boyz will now run until Saturday, August 29th.

Not to be outdone, Les Misérables has added another four performances to their already lengthened run.  The new additions are as follows:

Tuesday, August 4           7:30 pm

Wednesday, August 5    2 & 8 pm

Thursday, August 6         8 pm

The newly announced batch of tickets goes on sale at 10 am, Thursday, July 16th and can be purchased online or by by phone at 604-687-1644.

CBC’s Triple Sensation: Master Class (Part 2)

Vancouver’s last contender on CBC’s Triple Sensation, Alyssa Brizzi, was sent packing last night along with Toronto’s Tess Benger.

The inherent transparency of reality television frustrates me in countless ways.  I resent the casting of real-life people as stereotypical characters.  I dislike how editing shapes our opinions of who we should be rooting for.  But mostly, I don’t like the way producers feel the need to telegraph which contestants are likely to go home in a particular episode.

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In last night’s episode of Triple Sensation, it becomes readily apparent within the first 15 minutes that the two most likely candidates for elimination are Alyssa Brizzi and Tess Benger.  Benger has been heavily featured in the series so far, but has not really received any rave reviews from the judges and instructors.   That suggests that the producers found her personality to be a good source of material for reality television and are milking her presence for screen time for as long as she is around.  But it doesn’t bode well for her chances at winning the competition.

The same issues that I had last week with the acclaim showered on Leah Cogan are still very much at play. Her talent is not in question; she seems to excel with all of the guest instructors.  And to her credit, I found myself liking her rendition of “I Won’t Mind.”  But I still don’t why she’s consistently at the top of the class.  Maybe, it’s as I said last week, something extra she has in person that is lost on film.  Maybe, I’m biased.  Or maybe I’ve been suckered by the show’s editing to fall for our plucky-but-doomed heroine, Tess Benger.

The men in the competition all appear to be relatively safe, for the moment.  Glen Mills, Liam Tobin and David Light are all extremely likeable in different ways and relate well to the guest instructors.

Two more finalists face elimination on Triple Sensation next week in part five of six, Mondays on CBC, through July 27th

Les Misérables (Review)

I saw Les Misérables at the Stanley last night for a second time, and here is my review as promised.  But before that, I’d like to begin with a brief disclaimer.

I know a lot of people will vehemently disagree, but I’ll start off by saying that I’m not a huge Les Mis fan.  It doesn’t rank among my favourite musicals, and I take issue with what I consider to be some major faults (which I’ll address).   But, I also recognise that much of my animosity/indifference towards Les Misérables is due to its unwavering popularity and not because it’s actually a terrible show.

That being said, the Arts Club production of Les Misérables is not to be missed.  The Arts Club rarely disappoints, and as I’ve written before, this past season has been full of some great shows.  I’ve seen the touring version of Les Mis several times, and this one blows them all out of the water.

There isn’t a weak link to be found in this cast.  Kieran Martin Murphy (Jean Valjean) and Réjean Cournoyer (Javert) are credibly locked in a life-long battle of wills and neither wavers in their resolve.  Murphy’s plaintive “Bring Him Home” is a veritable font of emotion.

Rejean Cournoyer in the Arts Club Theatre Company’s production of Les Misérables. Photo by David Cooper.

Réjean Cournoyer in the Arts Club Theatre Company’s production of Les Misérables. Photo by David Cooper.

Les Mis may have some definitive lead roles in Jean Valjean and Inspector Javert, but it isn’t stingy with the spotlight and gives multiple performers the chance to be showcased.  Les Misérables doesn’t have one signature song; it has a half dozen or more.

Sara-Jeanne Hosie takes on the double-edged role of Fantine, unenviable only in the inevitable comparisons between hers and YouTube sensation Susan Boyle’s rendition of “I Dreamed a Dream.”  Thankfully, Hosie’s performance is all her own and makes Boyle’s a distant memory.

Jonathan Winsby’s voice in “Do You Hear the People Sing” and “Red and Black” is in its usual powerful form and  believably communicates his character Enjolras’ charismatic convictions needed to lead the revolution.

The real revelation came to me in the beautiful singing of Rebecca Talbot’s Éponine.  During her first speaking lines I was apprehensive about her slightly rough-sounding voice.  Those concerns were completely allayed when she began to sing.  Talbot’s “On My Own” was emotional, heart-wrenching, and completely crush-worthy.

Jeffrey Victor as Marius and Kaylee Hardwood as Cosette make up the final two points with Éponine in the requisite love-triangle.  But I found myself siding with the doomed Éponine, all the more so in her dying duet with Marius “A Little Fall of Rain.”

John Mann and Nicola Lipman as the villainous Thénardiers add some much needed levity, albeit black humour, to the otherwise unending tragedies and deaths that befall almost every major character in the play.  Mann is deliciously ghoulish and Lipman is more than his match in every way.  What Lipman lacks in vocal skills, she more than makes up for with strong acting and a razor-sharp delivery.

Nicola Lipman and John Mann in the Arts Club Theatre Company’s production of  Les Misérables. Photo by Emily Cooper.

Nicola Lipman and John Mann in the Arts Club Theatre Company’s production of Les Misérables. Photo by Emily Cooper.

Les Misérables was adapted into musical form from Victor Hugo’s classic French novel of the same name and has been translated into English at various time as The Miserable Ones, The Wretched, The Poor Ones, The Wretched Poor, and The Victims.  I’m partial to The Wretched myself.

All kidding aside, Les Misérables does have a beautiful score and multiple deservedly memorable songs, which count in its favour.  On the other hand the book is long, unwieldy, short on character development, and attempts to cram far too many characters and events into one show.  The end result can be hard to follow and it’s easy to miss plot points or details that explain character histories or motivations.  The poor character development along with the über-tragic storyline makes for many missed opportunities to really flesh out some of the emotions and stories behind the show.

None of this applies to those of who have seen the show multiple times and who have probably had more than a few listens to any of the cast albums, but I wisely advise any Les Mis virgins to read the synopsis while waiting for the show to start so as not to be left confused halfway through.

My only other complaint is the small orchestra.  I understand that it’s both an economic and a logistical problem, but the epic scale of Alain Boublil’s and Claude-Michel Schönberg’s music and lyrics really does require a full scale orchestra to do it justice.  Even so, Musical Director Bruce Kellett has done a great job of making the most of the six-man pit.

The Arts Club production of Les Misérables directed by Bill Millerd is the best I’ve seen and if you haven’t seen it yet, I can’t recommend it enough.  Despite my criticisms, I’ve seen it twice and I’m likely to catch it once more before it closes on August 2nd.

Les Misérables runs through August 2nd at the Stanley Industrial Alliance Stage (2750 Granville Street).

Impresario awaits sentencing, famous friends come to his defence

Garth Drabinsky and Myron Gottlieb’s two-day sentencing hearing ended Tuesday, with Justice Mary Lou Benotto scheduled to sentence on August 5th.

Drabinsky and Gottlieb were convicted of fraud and forgery in an Ontario court in March and have been awaiting their sentences both legal-wise and in the court of public opinion.

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Former Livent executive, Garth Drabinsky

For anyone who wasn’t paying attention to professional musical theatre in Canada through most of the 90s, Drabinsky was the driving force behind the theatre production company Livent.  In its heyday, Livent produced multiple hit musicals and had its fingers in theatres in Toronto, Chicago, New York and Vancouver.

The 1995 construction of the then-Ford Centre for the Performing Arts in Vancouver was accompanied by a tidal wave of publicist-generated excitement.  Up until that point, our city had been temporary host to varying touring productions of Broadway shows, but the Ford Centre would ostensibly mean bigger-budget shows with longer runs that weren’t beholden to the economics and logistics of transporting sets.

I covered live theatre for a youth publication, at the time, and I reviewed most, if not all, of the Livent productions that came to town including Joseph, Phantom, Showboat and Sunset Boulevard.

The building formerly known as the Ford Centre for the Performing Arts, now just The Centre.

The building formerly known as the Ford Centre for the Performing Arts, now just The Centre in Vancouver.

That was before it all came crashing down. In August of 1998, Drabinsky and Gottlieb were forcibly removed from their offices and found themselves facing a $225 million lawsuit from Livent’s new management.

Out came the allegations of cooked-books, financial mismanagement, corporate theft, and fraud.  Gottlieb and Drabinsky were investigated by American and Canadian authorities and were eventually indicted in New York, although they never showed up in the U.S. court to face the music.

Now that the duo has been convicted in Canada and are awaiting sentencing, some notable artistic luminaries have come out to have their say as well.  For a man who, by all accounts, defrauded investors of half a billion dollars, Drabinsky seems to have no shortage of famous friends defending him

Several of those filed letters with the court in support of Drabinsky:

Actor Martha Henry, Companion of the Order of Canada, compares him to such figures as Orson Wells [sic], Donald Trump, Oscar Wilde, Harry Houdini and Conrad Black (perhaps some artistic foreshadowing?). [emphasis mine]

She continues, “I hope it’s possible to take into account Mr. Drabinsky’s very real strengths (how much poorer our mythology would be without him) and consider leniency in his sentencing.  Garth will, and should, live to flourish again.  And again, and again.  We look forward to reading about his next adventure and in many ways, we admire him and wish we all had some of his intelligence, his showmanship and his bold, risk-taking vision.”

Emmy and Tony award-winning Actor Christopher Plummer writes, “. . . [T]his is the only side of Drabinsky that I know – Garth the Optimist, the Achiever, who, lest we forget, has never ceased to stimulate the Arts and contribute to the culture of his own country with such ferocity and such conviction.”

Ragtime author E.L. Doctorow contributes, “There is a life history here of someone raising himself by his own bootstraps to the pinnacle of his profession.  That he has, after years of visionary theatrical entrepreneurship, come to this, I cannot view as anything less than a personal tragedy.”

Livent’s productions did often win critical acclaim and amassed 19 Tony awards.  And, despite the terrible things Drabinsky has been accused and convicted of, I’ll always be grateful for his support of Ragtime, one of the first musicals that really inspired my interest in the genre.

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I’m not questioning Drabinsky’s influence on Canadian theatre and the arts, but he and some of his supporters seem to be living in a different world than the rest of us.  People were defrauded of hundreds of millions of dollars, countless jobs were lost and who really knows how many lives were ruined by this man’s actions.

But, you wouldn’t know that from the almost hagiographic letters of support filed with the judge.  Based on those, you could be forgiven for thinking he was up for another prestigious award.

While the new revival of Ragtime (unaffiliated with Drabinsky) on Broadway is cause for celebration, where Drabinsky will be hanging his hat on its opening night in November, is still up in the air, at least until the 5th of August.

CBC’s Triple Sensation: Master Class

In a total surprise (at least to me), Vancouver actor Andrew Cohen was one of the first eliminated from the top 12 on Monday night’s episode of CBC’s Triple Sensation.

After being coached by the likes of Stratford Director/Choreographer Donna Feore and celebrity Acting Coach Patsy Rodenburg, Cohen and Wylmari Myburgh were the first to leave the competition.

Judging based solely on editing and who was heavily featured on last night’s show, it seems that Glen Mills, David Light and Leah Cogan are the favourites to win.  Light was an early standout, and Mill’s emotional performance of “Soliloquy” (Carousel)  made him a powerful contender.   However, Cogan’s top ranking both at midpoint and at the episode’s conclusion, puzzled me.

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Cogan is clearly talented, but whenever a coach/judge pointed out something masterful that she had accomplished, I didn’t see it.  Perhaps it can be chalked up to something lost in translation between live in person to television.  I found so many of the other performers to be far more compelling, albeit in heavily-edited minute-long clips.

That leaves only Burnaby resident Alyssa Brizzi representing BC in the run for the $150,000 first prize scholarship and the Triple Sensation title.

Cohen has already moved on from the experience having recently starred as leading man Gordon in A New Brain (Pipedream) and is currently studying at UBC in the BFA acting program.

Master class continues on Triple Sensation next week in part four of six, Mondays on CBC, through July 27th.

Altar Boyz (Updated Review)

I know that I’d promised you my updated take on Altar Boyz last week, but I didn’t get a chance to see it again at the Granville Island Stage until this weekend.

The show has definitely accrued more polish, since when I first saw it in previews.  My original concern about missed comedic timing and line deliveries has been completely rectified.

All of the actors have settled comfortably into their roles, and are pitch-perfect, dancing machines.

David Hurwitz plays it up for laughs as the closeted Catholic Mark and balances the fine line between character and caricature.  I’m rarely comfortable with the fallback of using gays or other minorities as comic relief, but Hurwitz carries it off smoothly.  Hurwitz’s “Epiphany” had the audience cheering and I especially appreciated his over the top boy band style riffs.

The original cast of the Arts Club Theatre Company’s production of Altar Boyz. Photo by David Cooper.

The original cast of the Arts Club Theatre Company’s production of Altar Boyz. Photo by David Cooper.

Jeremy Crittenden (Matthew), Jak Barradell (Luke), and Geoff Stevens (Abraham) each have multiple shining moments.  Crittenden has the classic boy band idol look and plenty of onstage charisma to back it up.  His rendition of “Something About You” is a guaranteed charmer.

Barradell gives a solid performance and really shows off in his solo in “Body, Mind & Soul!”

Stevens’ “I Believe” solo is crystal clear in its simple melody and sets the stage for the inevitable happy ending.

Originally I highlighted Vincent Tong, and once again I have nothing but praise for his performance as Juan.  “La Vida Eternal” both pokes fun at the short-lived Ricky Martin and Enrique Iglesias Latin music trend and shows off Tong’s vocals and strong dance moves.

Whether you loved them or hated them, 90s boy bands were ubiquitous for a reason.  Yes, they were attractive to the tween and teen set and their in-formation dance steps set many a straight female and gay male fan heart aflutter.  But the icing on the carefully pre-packaged cake was the infectious music and the catchy hooks.

If comparing the Altar Boyz as a musical against standard Broadway (classic or modern), the show doesn’t really have a prayer.  No one’s going to mistake the score for Sondheim.  But as a spoof of the boy band phenomenon, the score achieves the intent of composers Gary Adler and Michael Patrick Walker.  Adler and Walker have crafted a score that could have easily topped the pop charts a decade ago (minus the humor-laden lyrics).

In that regard Altar Boyz hits its mark.  The songs seem to be staying with me, whether I want them to or not.

The show’s book is practically non-existent; a Christian boy band attempting to cleanse the souls of every audience member before their concert is done.  The barely-there plot really doesn’t matter though, as the show consistently entertains with strong laughs, high energy vocals and  smooth dance moves.

A big part of the show’s success should be attributed to the four-piece band under Musical Director Sasha Niechoda.  Much of the show’s energy comes directly from the live music.

Sara-Jeanne Hosie’s choreography is even sharper than before if possible.  There’s really no excuse to miss this show, if you haven’t already seen it.  The Arts Club has set itself a high bar to pass for next season’s musicals.  But, if past experience is any indication, they’ll do it with flying colours.

Running at 90 minutes with no intermission, Altar Boyz runs until August 1st at the Granville Island Stage (1585 Johnston Street) in Vancouver.