Trevor Abes: Writer

Category: Theatre

Review: Non Gratas (Alma Matters Productions)

My latest review for Mooney on Theatre.

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Non Gratas, A Latinx Comedy Show With a Lot of Melodrama, is an improv comedy show that does its name proud. Produced by Alma Matters, and staged at Bad Dog Theatre Company, it’s loosely built around two young Latin American women who become friends after immigrating to Canada. As they struggle to connect with a new culture, they highlight the gap between two stereotypes—Canadian humility and Latinx passion—with jokes that kill but also let me into their devastating longing for home.

Marta (Mariela Pabón Navedo) is a newcomer from Puerto Rico, hungry for love and friendship, who’s been having a rough time connecting with everyone she meets. That is, until she runs into Maria (Patricia Tab), an Argentinian experienced with the culture shock of new arrival. Maria not only finds a friend and roommate in Marta, but also someone to save from the pains of finding your footing as a foreigner.

Each woman sees herself reflected in the other, the first time they recognize themselves in another person since arriving in Canada. Here, they feel like personae non gratae, both unwelcome and misunderstood. They explore this notion not so much through a plot, but by developing their relationship through different improv scenarios.

One recurring segment is a simple back and forth, where Marta and Maria trade off lines built on a central theme. It’s kind of like stand-up comedy with the added jolt of improv. The first of these segments explains how showing emotion is a daily part of Latinx life. The duo conveys this through sweet, poetic exaggerations that perfectly encapsulate the issue. Selected gems include how, in Puerto Rico, it’s normal to get your heart broken on a daily basis, and how, on any given morning, Argentinians may fall in love with someone they saw at a bus stop.

On another back and forth, contrast is exploited to maximum hilarity. Marta has a breakdown and deciphers a lover’s text out loud in front of co-workers during a business presentation. Juxtapose her hysterics with Maria, who quietly poses grand philosophical questions about feeling like parts of her are missing when friends and lovers move on. My favourite is the surreal, “Where do trees go when they want to leave?”

At one point, it turns out the duo have been dating the same Kyle. This leads to them riffing on being Canadian and our well-known typecasting as somewhat dull, polite, and self-effacing apologists. They find nuance in this overplayed subject by concentrating it in Kyle’s love for fishing, and their exasperation at how anyone could find something so boring so interesting. Maria sums up the Canadian-Latinx divide when she asks, rather memorably, “Why it is so hard for men to understand that, sometimes, I just need to argue with someone?”

Non Gratas also includes a number of karaoke performances. It’s another avenue for Tab and Pabón Navedo to depict Latinx effusiveness, this time as a way to exorcise your frustrations by letting them out on stage. The performances are moments of abandon and disinhibition. Open invitations to join in a glorious cacophony of bad singing and dance my troubles away.

Marta’s unrushed, deadpan delivery and Maria’s fretful, anxious musings play off one another from moment one. The dynamic adds a backbone of sharpness to material. It goes a long way to making up for the occasional weak line, or moment of dead silence, which comes with the improv territory if you ask me.

Monica Garrido, member of Sketch Comedy Extravaganza Eleganza, warmed us up with stand-up that showcased her confident, goofy style. She told stories of growing up religious in Mexico as a closeted lesbian and how that compares to a more diverse but no less skewed Canadian existence. One where, she notes, Mexican people are considered brown, whereas in Mexico, they’re just Mexican. Her writing is concise, her timing surgical, and her dance moves during the karaoke segments unrivaled in terms of funkiness.

My guest, Jonah, thought Non Gratas did justice to the strength it takes anyone to bridge two cultures. Though the show brims with laughs, they are often a coping response to how hard it is to make a life far from home. The characters open the tap to that feeling and never turn it off. “I couldn’t help but wish them well,” he said. His one note, given the show’s 45-minute run-time, was that some scenarios would benefit from greater length.

Tab and Pabón Navedo—who perform as a duo under the name Non Gratas—keep the electricity of uncertainty in the air. The show truly feels like it’s being created as they go, minus all the stops and starts you’d expect if that were actually the case. A lot of this has to do with their fearlessness in the face of “yes, and”. But it’s also tied to how the show’s big-picture subject, our need for community, boils down to winging it, introducing yourself to a stranger, and seeing what happens.

Details:

Photo of Mariela Pabón Navedo and Patricia Tab provided by Alma Matters Productions.

My Latest Review for Mooney on Theatre: The Winter’s Tale (Shakespeare in the Ruff)

The Winter's Tale

This outdoor adaptation of The Winter’s Tale – produced by Shakespeare in the Ruff – is playing at the bottom of a little hill in beautiful Withrow Park. It boasts a superlative cast, comedy with improv’s unpredictability, and monologues that will run your heart through the emotional gamut, then give it back refreshed for the real world.

The play tells of a king’s jealousy getting the best of him, how it leads him to lose his wife and children. And how finally, the universe conspires to grant him one final chance to atone for his paranoid, authoritarian ways.

Director, Dramaturg, and Choreographer, Sarah Kitz never let us slip into fairy tale comfort. This is because, though brimming with laughs, family trauma is at the heart of The Winter’s Tale. And it never quite dislodged enough from my short-term memory to let me believe everything was okay. She gets across how the play is Shakespeare’s tragedy masquerading as a comedy. She offers us a world where life can only have joy if there is sorrow to recognize itself against.

When Leontes, King of Sicily, gives in to paranoia and accuses his wife, Hermione, of being unfaithful with his best friend, Polixenes, King of Bohemia, he unwittingly sentences himself to a devastating fate. He doesn’t know that it will be 16 long years of shame and isolation before he gets to see his then-infant daughter, Perdita, again. She is betrothed to Polixenes’ son, Florizell, and they are giving the whole family thing one more go.

Kitz keeps her cast on point by emphasizing fundamentals. They project voices and exaggerate gestures, so the performance reaches the farthest row back. That way, passers-by crossing my line of sight were less likely to pull me out of the story.

Maddie Bautista’s music and lyrics combined with Kitz’s choreography are crowd-pleasers. This offsets the effort of parsing through the dialogue, which is delivered for the most part in its original Elizabethan English.

Richard Lee plays King Leontes and the son of the Old Shepherd who raises baby Perdita after she’s abandoned in the forest. Lee’s charisma and non-stop energy are a delight to behold. A gifted comic actor, he brings a “yes, and” mindset to the stage, completely open to anything unexpected that might happen in the open-air environment. At one point, as the Shepherd’s son, he accidentally nudges baby Perdita in her carrier. His split-second decision to apologize to her with a quick, “sorry, baby!”, sent a roar of laughter through the audience, filling us with excitement for what might come next.

On the dramatic side of things, Lee portrays Leontes’ jealousy with a hint of dictator’s delusion. It’s the kind you catch from living in an echo chamber of yes-men and from thinking your blood is godly. Leontes is captivating because he is unsteady. He believes any idea that pops into his head, supported by a heartbreaker of a monologue, unfettered and arresting in its intensity. As the play’s program proclaims, this is the 17th-century version of a telenovela.

Tiffany Martin plays Leontes’ wife, Hermione, as well as Autolycus, a Bohemian pickpocket who finds a heart when Florizell and Perdita need him most. Martin does so with the kind of gusto reserved for one’s most cherished activities. Every line is savoured, gifted to us as opposed to merely delivered. Highlights include Hermione’s final monologue and the scene where Autolycus imitates royalty. The first is an absolute showstopper. It is brash and eloquent and fearless in its vulnerability, all of it amplified by stage lights catching the tears streaming down her face. The second is an exaggeration, executed to perfection, that finds humour in but also questions how we carry ourselves according to how we want to be seen.

Eponine Lee plays Leontes’ son, Mamillius, with a sadness beyond her years. Her rendition of the bear that chases Leontes’ aid, Antigonus, off stage after he abandons baby Perdita in the forest is a mix of whimsy and terror that disarms with every growl. This is indeed the subject of Shakespeare’s most famous stage direction, “Exit, pursued by a bear.”

Jani Lauzon is exceptional as the Old Shepherd, Perdita’s adopted parent. She brings the slapstick every chance she gets, relishing the space to ham it up with a funny walk, or a triple take when something shocking happens. The warmth with which Lauzon shares the Shepherd’s hyperactivity made me feel like a kid at a birthday party with the best clown money could buy.

My guest, Ricky, found the actors’ commitment to the material incredibly engaging. It didn’t matter that people were walking their dogs or having picnics all around you. He also considered the pre-show land acknowledgement an effective way to both raise consciousness and get people in the mood to listen to poetic language.

The cast as a whole is the epitome of professionalism, staying loose with precision and intention as this classic story unfolds. There’s no recitation by rote to be had here, and little in the way of suspending disbelief. Toronto is no Sicily, but the performances fooled me. That each actor plays multiple characters only speaks higher of their skill.

A more than honourable final mention to the Young Ruffians, members of Shakespeare in the Ruff’s theatre creation apprenticeship program, for warming up the crowd before the show with ice cream and peanut butter themed Shakespeare improv. The evening would not have been nearly as enjoyable without them.

Details

  • The Winter’s Tale is playing at Withrow Park (725 Logan Avenue) until September 2, 2019.
  • Performances run Tuesday through Sunday at 7:30pm.
  • Tickets range from $20 to $30 online and are Pay-What-You-Can in the park.
  • In case of rain, performances will continue until no longer deemed safe, in which case, audience members will be given a voucher to come back on another night.

Photo of Richard Lee and Eponine Lee by Dahlia Katz.

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