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It’s been a year, y’all. We shook off the collective nightmare of lockdown, put on our dancing shoes, and partied. Bars, theatre, concerts, comedy, art, all the stuff that keeps the lights on in our city and our souls returned from the forced hiatus.

It didn’t take long for us to get used to it, and every now and again I stop myself while doing some mundane thing like walking through the Eaton Centre and remember how much I craved the basics.

As some of you may know, I have a lot of well thought out complaints about the ways of the world (catch me on FTB Weekends with Jason C. McLean), but provincial elections and healthcare crisis aside, the gratitude was especially delicious this 2022.

January

It’s a mind bender to recall that we came into 2022 under curfew, and in lockdown, but at the time it was hard to think of much else. Instead of show announcements, we kept our ears to the ground for cancellations, wondering how far ahead they were planning.

It was miserable. Igloofest was canceled. Online shows offered some reprieve, but meh. If we were in a tumbleweed climate, they would be rolling through this month.

The whole thing was gloomy.

February

February is often called the most depressing month, and in the COVID time it was at least doubly so. We were still under partial lockdown, but hope was on the horizon!

Nuit Blanche was finally coming back and Osheaga announced its lineup, signaling that normalcy was within reach. Some performers would change before the show, but all we heard is that there would be shows.

In fact, some local shows started to pop up and bars were scheduled to reopen February 28. Is dancing allowed? Is singing allowed? No one’s sure, but we’re stoked to get out there and find out.

March

The show is finally going on, which is really saying something considering the curtain on CATS was originally supposed to go up in March of 2020.. Just For Laughs announced its lineup and things to look forward to were starting to pop up everywhere.

This is when Montreal Museum of Fine Arts was doing what it could with limited capacity: starting at the end of February, you could get in if you booked your time slot (in 15 minute increments) online, masking and distancing are mandatory, giving the security staff the new task of keeping people from moving through the rooms too quickly or getting too close to one another. Only the major exhibit was open, and I learned that I don’t like Riopelle, but being back feels momentous.

Concerts have begun, but safety measures are in place there too, making the whole thing seem weird. My bf goes to see Sepultura at a fully masked metal show, and it sounds dystopian to me.

April

The MMFA is actually factually all the way open, though you still need to book a time slot. I beeline for The Decorative Arts & Design Pavilion, which is open for the first time in ages, having been “closed due to reorganization” or some such even before the pandy. I am in my happy place.

The MMFA’s Decorative Arts and Design Pavilion (photo by Dawn McSweeney)

As part of an experiment on our party rules, the SAT serves up drinks and tunes for 24 hours straight which gives me some hope that maybe the “new normal” will allow for some reconfiguration of things we’ve taken for granted as status quo for too long (writing this at the end of December, that hope has long since crashed and burned, but it was lovely while it lasted).

I’m comforted knowing that while everything feels like it’s on the brink, Montrealers can unite against some showy corporate silliness as we all discuss the city’s new giant ring.

May

Spring is springing, and the good times are indeed rolling. I finally get out to my first post-COVID show. I’ve seen Symphony X before, and they put on a good show despite not being on my regular rotation. This is about getting out, and bring with people and not wearing a mask in a crowd.

We meet up with friends for drinks and food. No vax passes. No masks. We come and go from the show so much, it’s about the band the same way high school dances are about dancing. I’m jazzed.

I also leave town for the first time in years, and head to Halifax for the first time ever. We hit some familiar territory, and hug people we’ve missed.

Back in Montreal, masks were still in place at Mainline Theater where performers wore them throughout Carrie: The Musical rehearsals. As someone who’s still masked at work, let me say that phone calls are hard enough, kudos for pulling off a musical.

There were no masks on stage for Contact Theatre’s Next to Normal at Monument Nationale and Cirque du Soleil came back strong with Kooza.

June

At this point our regularly scheduled Montreal programming seems to be rolling right along, and Fringe is next! James Gartler checks out Tango to the Pointe along with Al Lafrance’s Is This Yours? and Josephine, a burlesque cabaret dream play, saying of Josephine that “it stands easily as one of the best shows to ever play at the Montreal Fringe Festival”.

I peep What About Albert? and enjoy the heck out of it.

Photo by Joseph Ste-Marie, courtesy of The Malicious Basement Theatre Company

July

I smiled through this whole month. There are events at every turn, and Montreal summer is thriving. At the beginning of the month, our Editor Extraordinaire says to me “hey, someone approached us with a creative thing that made me think of you”, which is how I met my creative soulmate, and that will come up later.

ComicCon is back, and the fits are fierce. Flipping through the cosplay pics, I get a little sentimental thinking about how long it’s been since we’ve all been able to let our freak flags fly in all their carefully crafted glory. Man, we’re beautiful.

James Gartler went to Malcolm McDowell’s talk and he learned that the only time in his 60 year career he was ever stiffed on gig was by a producer in Montreal, so we have that dubious distinction.

JFL is back for its 40th edition, and I’m desperate to laugh with strangers. From late July into early August, all my friends have to listen to me fangirling about who I’m interviewing. I loudly tell everyone I know that I can’t make their things ‘cuz I have media passes to comedy shows, and article deadlines. Everyone calmly assures me that I wasn’t invited to their things, and pats me on my head for being so cute and excitable.

Seriously though, when you look at it all in one place our FTB Team had JFL on lock. Samantha Gold spoke to Canadian comedy royalty Rick Mercer, comic, Hollywood and Bollywood actor Vir Das and even Randy Feltface, an actual puppet. Jason C. McLean spoke with Letterkenny star Mark Forward and caught Irish comic Tommy Tiernan’s new show. James Gartler took in Trixie Mattel’s free outdoor drag show and SNL and stand-up star John Mulaney’s latest one-man show.

I spoke to a bunch of folks I never thought I would such as Alonzo Bodden and Pete Holmes. Despite Big Jay Oakerson closing out our phone interview by saying I should come up and say hi at the show, I freeze and never say hi. I see him outside with Brendan Sagalow on another day, after a different show, and I stare like a weirdo, but keep my distance.

July/August

As Montrealers we’re confident in our summers, but painfully aware of their fleeting nature. By the end of July squeezing in all the summer activities becomes a full time job, and this year it’s coming to a head as Osheaga & JFL share a weekend.

Osheaga 2022 photo by Chris Zacchia

As one FTB team was all over JFL, another team covers Osheaga with Joe McLean and Jerry Gabriel‘s previews and coverage from Jerry Gabriel of the rock-oriented Day One and the mix of everything Days Two and Three, plus Chris Zacchia’s festival photos.

Meanwhile, my Maritimers BIL & SIL come to town for their first Osheaga, and they haven’t been here in years. We live it up, and I fall in love with MTL yet again as I experience it through tourist eyes. They had a blast at the show.

August

Oh, I remember August because before we’d even sent the Scotians home, my bf tested positive for COVID. Damn it. We lock ourselves in, and I catch it in short order.

Considering I’ve been working at an office this whole time and taking public transit throughout, it seems fair. We both feel like bags of poop, but we’re super glad it wasn’t worse.

Meanwhile, Samantha Gold was checking out Repercussion Theatre’s All Shall Be Well and the POP Montreal lineup is released giving us more to look forward to.

September

In September I interviewed a fictional character when I sat down with Andrew Jamieson as Conor Blaine, (the aforementioned creative thing and the aforementioned creative soulmate). It was like playing with someone else’s imaginary friend, and it tickled me.

Drinks with fictional character Conor Blaine (photo by Dawn McSweeney)

Montreal Stop Motion Film Festival returns for it’s 14th edition, and I didn’t know this existed until it was over, so as I write this I’m marking my calendar for next year.

At MMFA, Nicolas Party’s pastels surprised me as the colours spilled off the pages and onto the walls. The Decorative Arts & Design Pavilion is closed again as pieces from there are used as part of another exhibit.

POP Montreal started at the very end of the month which takes up right into…

October

POP Montreal taught me a lot about how to better cover a multimedia, multi location arts festival. There was so much to do and see, but for me the highlight was catching Sophia Bel, who I’d never heard of, and now I tell other people about.

Samantha Gold interviewed Rocky Horror Show director Amy Blackmore and the time warp was live for the first time in years. Me First & The Gimmie Gimmies come to town, and it’s a fun time.

November

In art news, MMFA puts on a fantastic Jean Michel Basquiat exhibit called Seeing Loud: Basquiat & Music. It features works by the artist, but is specifically designed to showcase the importance of music in both his career and life. The music plays throughout.

Big famous pieces aside, there are framed journal pages, concert posters, and a super cool map where you can track his path via concerts in NYC. This bad boy runs through February 19, 2023.

In other museum news, the Decorative Arts & Design Pavilion is back to being closed for reorganization or whatever. I sigh dramatically.

Anti-Flag brought old school punk to town, and image+nation celebrates 35 years.

December

The beginning of December already feels like a year ago. The Candyass Cabaret brought sexy back, the Stygian Caravan brought creatives together, and speaking of together, Glass Tiger still is.

Andrew Jamieson’s Sleazy Christmas introduced me to comedian Morgan O’Shea who I thought was just some friend of a friend, and next thing you know, he’s going up on stage, and I’m laughing till it hurts. Turns out he’s profesh. I’ll be intentionally seeking out his comedy in the future.

As is always the case, this year isn’t over yet, and we’re already looking to the next.

Osheaga 2023 headliners have been announced, and I already have Lizzo tickets for May.

Entertainment this week? Personally? So much chilling.

All the best to you, yours, and the dreams you’re chasing. Blessed be & haribol.

Featured Image of Sophia Bel @ POP Montreal by Dawn McSweeney

ArtsStage

I should say right off the bat that when it comes to portrayals of The Rocky Horror Show, I have extremely high standards. I’ve been a devotee of Montreal’s Rocky Horror tradition since I was first allowed into screenings of the film adaptation, The Rocky Horror Picture Show, at sixteen.

I attended the Halloween Ball at the Imperial, the Medley, and The Rialto until disability and a few bad experiences since they permitted the sale of alcohol at the ball. I switched to the annual musical show at the MainLine Theatre.

I know every single callback, am quick to come up with original heckles, and even had the soundtrack to the original London stage musical on CD until time destroyed it.

That said, in the spirit of fairness, this review of Richard O’Brien’s The Rocky Horror Show will be split into two parts: the first will be for people who have never experienced it and want to know what to expect, the second will be for the massive cult of Rocky Horror fans with specific expectations.

For Rocky Virgins

If you love camp, don’t hate musicals, and are a fan of fluid portrayals of gender and sexuality, Richard O’Brien’s The Rocky Horror Show is for you. Dr. Frank n’ Furter, played Stephanie McKenna, is your sassy highly sexed mad scientist, who has been in the role for years and plays the part well. Aly Slominsky as Janet is the textbook prissy virgin all but begging to be initiated sexually by a skilled partner, and Cat Preston nails the sultry maid, Magenta. Craig Dalley as Eddie is every bit as sexy as a leather vest and jeans wearing biker can be, though when he plays Dr Scott, his German accent falters on occasion.

Do not expect anything remarkable or understandable about the plot, that’s the nature of the play: more style than substance, so allow yourself to shut your brain off and enjoy it. If you can’t, this might not be the show for you.

If you appreciate good music, then stick around, the band and musical direction, by Émilie Versailles and Katharine Paradis do an amazing job bringing Richard O’Brien’s timeless catchy tunes to life. If you love to heckle, you’ll love this show, as heckling is encouraged, but do not throw anything on stage or you will be ejected.

Though the actors’ mics were glitchy, and drunken rowdy audience members – most likely planning to go to the postponed Halloween Ball – often attempted to derail the performance, the cast took it all with grace.

If you want diversity in your shows, you will be happy to know that the cast includes people of all different sizes and genders, but those preferring visible diversity will be gravely disappointed, with this reviewer noting only one actress of colour among the entire cast, and they were not in a major role. Whether this will change in future runs remains to be seen.

If you’re a little curious and looking for the fun and escapism director Amy Blackmore promised, check out Richard O’Brien’s The Rocky Horror Show at MainLine. It’s adult Halloween entertainment at its finest.

For Rocky Horror Devotees

This year’s show is a remount of MainLine’s Theatre’s last run in 2019 before COVID-19 health restrictions and that needs to be taken into account when watching it. They didn’t bother holding auditions this year, asking much of the previous cast to come back and sadly production quality suffered for it.

Zachary Sykes played Brad far too manly, giving us not the dorky sexually confused Brad we all expect, but your stereotypical cis man. His singing was fine, but his portrayal desperately needed hamming up.

Stephanie McKenna’s Frank n’ Furter was excellent as always, but I was hoping she would sex it up a little more than she has in the past, though the physicality she brings to the part is always breathtaking.

Megan Vera Starling’s Riff Raff is fine but the moment the actress breaks into song, she also breaks character, turning from the creepy Igor-inspired butler to sultry diva and it is completely inappropriate for the role.

Columbia, played by Genevieve Pertugia, tap danced well and had all the cuteness her part required, but she seemed to lose her voice on several occasions and might have been better rapping her lyrics instead of singing them.

This year’s Rocky, played by Vin Barbisan is, as Amy Blackmore promised, a completely different take on the character in terms of gender, which is good. However, Rocky is the one character in the show that has clear physical requirements, and Barbisan was clearly struggling through the three pushups they did on stage. Future casting choices should be able to do press-ups well and with confidence or be encouraged to train until they can.

Sarah Kulaga-Yoscovitz was excellent as the Usherette, as was Aly Slominsky’s Janet, Cat Preston’s Magenta, Kenny Streule’s narrator, and Craig Dalley’s Eddie, though his Dr. Scott could use a bit more silliness.

The real stars of the show for me were the band, the choreographer, the floor show dancers, and whoever was responsible for making Riff Raff’s weapon at the end. As an occasional prop designer, I marveled at the beauty of it, a far cry from the recycled plastic pitchfork Richard O’Brien’s Riff Raff wields in the movie.

This year’s The Rocky Horror Show at MainLine wasn’t a bad show, but die-hard fans will find it lacking. It satisfied my need for a Rocky Horror fix, but just barely.

The show is starved for new blood, better casting, and more ethnic diversity. Here’s hoping next year’s is better.

ArtsStage

When it comes to Halloween for adults in Montreal, there is no tradition more sacred than Rocky Horror. For over twenty years, the city has featured two ways to get one’s Rocky Horror fix every October: The Halloween Ball at the Imperial, and Richard O’Brien’s Rocky Horror Show at the Mainline Theatre.

The Halloween Ball usually featured a costume contest, followed by an interactive screening of The Rocky Horror Picture Show with actors pantomiming on stage at the same time. The Rocky Horror Show at the Mainline is quite a different beast, with actors acting, singing, and dancing the musical play that lead to the movie.

Then the COVID-19 pandemic hit in 2019 and both events were cancelled, with the Mainline’s show going on hiatus for nearly three years. The organizers of the Halloween Ball tried to make up for public health measures with an online screening, but their charging full price admission kept people away.

Though public health restrictions have mostly been lifted, the Halloween Ball has been postponed until September 2023, so people will have to go to the show at the Mainline to get their Rocky Horror fix. Regarding demand, the ticket sales are proof enough, for the Mainline run sold out before its premier on October 20, 2022.

I’ve been a Rocky Horror devotee since my mid-teens. For me, a social outcast, the events signified freedom from alienation where no matter how you presented yourself the cast and crowd were there to welcome you.

For the director of Richard O’Brien’s Rocky Horror Show at Mainline, Amy Blackmore, Rocky Horror represents home, nostalgia, and escapism:

“I think folks love that when you walk in and sit down you can forget everything else…I think that in our case we have fun with it, it’s campy, and above all, it’s the callbacks.”

For those who have never seen the show or attended the Halloween Ball aka “Rocky Virgins”, the callbacks are heckles in response to the actors. While throwing things is not permitted at the Mainline show, audiences are encouraged to use common callbacks you can find easily online, or invent your own. Blackmore encourages fans of the Halloween Ball and movie to see the live musical.

“The Rocky Horror Show came first. They’re two different experiences but they’re familiar nonetheless….For anyone who’s never seen the live version, I highly recommend it because it can just augment your love and appreciation for Richard O’Brien’s work.”

Though public health restrictions have been largely lifted, COVID-19 is still very much part of life so I was curious as to how Amy Blackmore ensured the safety of cast and crew during the production. Blackmore welcomed the question, talking about the show’s regular hand washing and use of masks, only going without them during the week of the premier.

She spoke also of how health concerns affected the intimacy direction of the show, and how the floor show performers were reduced from the fifteen of past shows to seven, and their physical interaction with the audience was more limited. While audience members are encouraged to wear masks, the Mainline isn’t making it mandatory.

For regular attendees of The Rocky Horror Show at Mainline, myself included, I was dying to know what else had changed from past runs. Blackmore was coyly evasive.

“There’s definitely some fun new little secrets that’ll be revealed. What’s exciting is that we have decided to bring back most of the cast that we all love, Steph (Stephanie McKenna) as Frank, Megan Vera Starling who won the META Award for Outstanding Supporting Role in our production of 2018, and of course Kenny (Streule) as the narrator…We have a new Rocky this year, which I’m pretty thrilled about. It’s a different take! You’re gonna have to come and check it out! We can’t reveal all of our secrets!”

Though my love of Rocky Horror is unconditional, it saddened me to hear that the mostly white cast of past runs was coming back, especially given the ever present need for more diversity in all areas of life. Blackmore admits that because this year was a remount of the pre-pandemic show, they didn’t bother to hold auditions. She encourages people of all backgrounds to come out and audition for future runs.

Mainline presents Richard O’Brien’s The Rocky Horror Show at Mainline Theatre from October 27 to October 31, 2022. Though the show is sold out, be sure to check out future runs!

ArtsStage

“Doesn’t anybody ever get it right?”

It’s a question the betrayed and broken-hearted Carrie White has been asking since 1988. And audiences have been right there with her.

Stephen King’s classic horror story about a tortured telekinetic teen made for a thrilling novel in ’74 and a chilling, Academy Award-nominated film in ‘76, but few believed it could succeed as a musical when Lawrence D. Cohen – who’d written the screenplay for De Palma’s movie – teamed up with FAME composer and lyricist Michael Gore and Dean Pitchford to try and tell the story through song. Carrie: The Musical was born in Stratford-upon-Avon in February ‘88 and landed on Broadway that April with a thud.

Critics on both sides of the Atlantic eviscerated the piece for its over-the-top theatrics, spastic Debbie Allen choreography, inexplicably Greek toga-themed costumes, weak special effects and incompetent storytelling. It closed in New York after 16 previews and five performances, losing 8 million dollars and earning the reputation of the flop to end all flops.

Nevertheless, elements of the score captured the hearts of musical theatre fans, who circulated bootleg recordings in the hopes that Carrie could somehow rise again. Those grassroots efforts compelled the creative team to revisit their wayward child in 2012, when they retooled the piece into something less outrageous and more true to the spirit of the book. That Off-Broadway incarnation rehabilitated Carrie’s reputation somewhat and even inspired the CW’s Riverdale to theme an episode of their show around the musical.

Now, the revised Carrie has made its way to Mainline Theatre thanks to the efforts of In The Wings Promotions, who must be credited for not only bringing this rarely-produced misfit of a show to Montreal audiences for the first time, but also for assembling a compelling cast of local talent.

Mary-Francis Kobelt steps into the challenging title role with charm and vulnerability. Though she begins as a quiet, hunched figure on the outskirts, her passionate vocals hint at the hopeful spirit trapped inside the body of a girl tormented by classmates and abused at home.

In the wrong hands, Carrie can come across as a cloying, one-note victim, but Kobelt takes care to make her portrayal a nuanced one, so you can root for her as she builds up her confidence and starts letting her guard down. Hers is a Carrie you half expect will make it through the prom unscathed.

It helps that she has the support of such an affable escort. As Tommy Ross, Jonathan Vanderzon brings an easygoing nature and sweet, clear voice to the often thankless role.

If it never quite made sense that a popular High School guy would agree to take an outcast to prom at the behest of his girlfriend, Vanderzon somehow connects those dots, effortlessly embodying that rarest of creatures: a genuinely nice guy without an ounce of ego or insincerity. The Saint-Bruno-de-Montarville native has clearly made good use of his training in the Big Apple and seems destined for great things.

Tommy Ross (Jonathan Vanderzon) and Sue Snell (Maya Lewis)

Similarly, Maya Lewis floats through each of her songs as the aforementioned Sue Snell, whose attempts to help Carrie ultimately end up backfiring. By the time she and Vanderzon sing the act two duet You Shine, they’ve all but walked away with the show.

Maria Del Real puts up a good fight, however, as the spunky and lovable Miss Gardner, who does double-duty as gym teacher and therapist to insecure Carrie. Though the revised version of Carrie still insists on having Gardner fill Carrie’s head with far-fetched fantasies of finding true love, Real mines Unsuspecting Hearts for humor, winning over both her doubtful student and the crowd with her can-do attitude and pleasant Mexican accent. If Carrie has typically been light on laughs, this cast at least knows where to find them.

It’s the thrills and chills that seem to be noticeably absent. Much of the fear factor in the original came from Tony Award winner Betty Buckley’s terrifying portrayal of a religious parent gone berserk. One could easily argue that her legendary, no-holds-barred interpretation of Margaret White is what kept the show from being completely dismissed and forgotten altogether.

Producer and costar Noelle Hannibal approaches the plum role of Margaret with noticeable hesitation, denying Carrie the tormentor it needs to justify its heroine’s emotional scars. There is no vocal belting or physical beating, and the show is weaker for it.

Aly Slominski throws herself more willingly into the role of mean girl Chris, with Dylan Stanley along for the ride as bad boy Billy, and though the two have fun, they simply don’t have as many opportunities as Margaret to give the show its edge.

Margaret White (Noelle Hannibal)

Musical director Ian Baird and his merry band of musicians (Gregory Kustka, Kevin Bourne and Colin Gé Pigeon Edwards) nearly compensate, delivering on the creepy, rock-inspired score with precision and gusto. Unfortunately, Carrie’s powers seem to have triggered a plethora of technical problems behind-the-scenes for Bruce Lambie’s sound design on opening night.

Microphones frequently crackled, popped and cut out randomly. For a space as intimate as Mainline, one would think it would suffice to do away with malfunctioning mikes altogether, especially since the cast is apparently able to sing out even while wearing face masks, as is presently required.

They cannot, however, be heard over the obnoxiously loud audio clips which punctuate the show with unwelcomed frequency. Simply put, some adjustments need to be made.

The staging, meanwhile, resembles more what you’d expect to see in a rehearsal space than an actual production. Black curtains and boxes are used to suggest Carrie’s home and the schoolgrounds, with precious few props handy to bring those environments to life. The presentation suffers as a result.

In And Eve Was Weak, for instance, Carrie’s mother is supposed to violently lock her daughter up, either in a basement prison, as seen in the Broadway show, or a closet, as depicted in the film. Here, Carrie is simply ushered to the back of the stage and left to kneel, as an ambiguous sound effect vaguely suggests the locking of a door. Audience members unfamiliar with this plot point were left puzzled.

Later, Carrie is supposed to dramatically reveal her powers to her mother by willing windows to slam shut during a thunderstorm. It would be a simple enough effect to pull off, but having provided no windows, set designer You Chen Zhang and director Nadia Verrucci leave their star to simply nod towards the audience as more sounds blast through the speakers, attempting to compensate for what should be happening in the theatre.

Two practical effects are employed early on to illustrate Carrie gaining control over her powers and they work rather well, but once we get to the prom scene – the scene that for many is the sole reason to watch any adaptation of Carrie – the creative team seems to simply throw in the towel. Astonishingly, lighting designer Alexander Smith opts to employ black lights during Carrie’s climactic meltdown in lieu of, say, red lights. Or better yet, plain old stage blood.

For a smaller scale production to cut corners is understandable. To deny Carrie audiences a blood-soaked finale is not, especially after the Broadway original and subsequent revivals were heavily criticized for the very same thing. Blood is very much at the center of the story being told, so even when working within the tightest of budgets, it’s worth prioritizing.

Having said that, one can’t help but hope Carrie will work out some of these kinks in the coming performances, because – thanks to its brave cast – there’s a real pulse behind this production that deserves to be celebrated. After two years of lockdowns, we’ve had precious little live theatre to enjoy, least of all unconventional theatre.

So even with its tragic elements, Carrie remains a curiously uplifting experience. Good or bad, right or wrong, love it or hate it – it definitely makes for a night you’ll never forget.

For tickets, please visit the MainLine Theatre website. Carrie runs through May 14th. For more information on the history of Carrie: The Musical, listen to the Out For Blood podcast, which chronicles the show’s fascinating development through interviews with its creative team and fans worldwide.

Images courtesy of In the Wings Promotions

ArtsFestivalsStage

Even though the 30th Edition of the St-Ambroise Montreal Fringe Festival won’t happen until June 2021, MainLine Theatre hopes to remain engaged with the community during these difficult times. With that in mind, they are planning This Is Not a Fringe Festival.

“Just because we’re pressing the pause button on the Fringe doesn’t mean that we can’t gather. I’m looking forward to encouraging artists and audiences to connect in new and exciting ways,” said MainLine’s Executive and Artistic Director Amy Blackmore about the upcoming festival.

In the era of the Covid-19 pandemic, this online socially distanced art festival will take place from June 11-21, 2020. Full programming, which will include micro-dance videos, storytelling events, theatrical parties, community art projects, mail-in art and more – will be announced on June 1.

For more information, please visit montrealfringe.ca

ArtsStage

Halloween is upon us and in Montreal that means just one thing: fastening your garter belts and doing the Time Warp at the city’s Rocky Horror festivities!

As always there are two events in Montreal to partake in: the Halloween Ball at Cinema Imperial and the live musical play put on at the MainLine Theatre. The Imperial ball involves a costume contest and a screening of the film accompanied by actors miming the show on stage. Audience members are invited to yell out call lines, dance, and throw stuff during strategic points in the show.

With scores of drunken attendees and the risk of being hit with a toilet paper roll, the Halloween Ball is not for everyone. If you want something a little tamer but still very much in the spirit of Rocky Horror and Halloween, Richard O’Brien’s The Rocky Horror Show at the MainLine Theatre is a sure bet.

This is the original musical play the 1975 film is based on. The actors on stage are all actually singing and dancing and the MainLine’s production contains a few artistic changes that may throw off die-hard fans of the movie and former attendees of the Halloween Ball. Though you are not allowed to throw anything during the play, audience members are invited to do call lines and even heckle as many of the actors give as good as they get.

Elyann Quessy reprises her role as Janet from previous years and it’s a role she does well, maintaining the girlish squeak and feigning unease as she becomes more and more comfortable with her sexuality. Though her singing is pitchy at times, it fits the character perfectly.

Adrian MacDonald also reprises his role as Brad this year and he is a talented singer and performer. Though his portrayal of Brad is never hammy enough for my tastes, MacDonald does an excellent job of portraying the stereotypical cis straight male forced to face alternative forms of sexual and gender expression. In the current political climate here and abroad, perhaps this is the Brad we need.

Cassandra Bluethner is once again Columbia and her portrayal this year is a massive improvement. Unlike last year, she offers a lot more of the squeak and cuteness one would expect from the character. Instead of a teenager in the “I hate everyone” phase, we have a more authentic groupie, in love with Eddie but enamored with Frank N’ Furter and addicted to the drugs the latter offers (shown in the play as sprinklings of glitter).

Sarah Kulaga-Yoskovitz reprises her role of Magenta. This year, though, she doesn’t sing on Science Fiction Double Feature, leaving vocal duties on the opener to Lindsay Miller as the Usherette, complete with skimpy costume and a box slung around her neck. Though her part was a bit smaller, Kulaga-Yoskovitz provided one of the biggest laughs I had during the performance.

Kenny Streule resumes his role as the Narrator – the character fans of the film will know as the Criminologist. It’s a role Streule does well, keeping a straight face in even the harshest heckles.

The true star of the MainLine production is Stephanie McKenna, who reprises her role as Frank/Dr. Frank N’ Furter. Though she’s dropped the English accent of previous years, her snark and strut are on point and her physicality is a sight to behold.

She is the first actor I’ve seen in the role to slip seamlessly from lying down, to a headstand before jumping into a standing position. She is also the first Frank I’ve seen with the physical strength to simulate sex positions most people find difficult.

This year’s production features a few newcomers.

This year the role of Riff Raff was cast gender bent, with Meghan Vera Starling in the part. Her portrayal was good; she had the right amount of creepiness and the BDSM vibe they gave her character explains why Frank beats her during the play.

Unfortunately her singing suffered due to her excessive use of the vibrato in which, on a particular note the singing voice sounds like it is vibrating or pulsing. It’s a vocal style that doesn’t suit the character, making much of Starling’s singing sound more like an American Idol audition than part of a musical number in Rocky Horror.

While in previous years the roles of Eddie and Dr. Scott were played by one actor (Kenny Stein for the past two editions), this year they were split. Eddie was played by Mathieu Samson and Dr. Scott by Nicolas Mancuso. Both were good in their respective roles, but nothing outstanding.

David Hudon is also new to MainLine’s production, taking the role of the beautiful creature Rocky, and he was perfect for it. Of all the past Rockys, he is the first one to come close to the physical type the part calls for and Hudon actually does a few push-ups and takes a few poses. Though Rocky has few lines in the play, Hudon manages to portray the character’s just-been-born naiveté with empty smiles and body language.

One of the stars of the production that deserves mention is the band, led by Katharine Paradis on saxophone. The music was always on point and helped further the play’s jokes along through their strategic use of sound effects.

There were a few changes that threw me off. Though all the songs were included, some scenes were changed that put some of said songs out of context. For example (spoiler alert) in the dinner scene, Rocky comforts Janet, causing Frank to get jealous, thus triggering the song Wise Up Janet Weiss. This version does not feature Janet’s interaction with Rocky, giving no context to Frank’s sudden rage against her.

Despite the difficulties, the MainLine show is worth checking out. It’s sexy, it’s catchy, it’s fun, and you’ll laugh yourself silly, if not from the play itself, then from the audience’s brutal heckling.

Richard O’Brien’s The Rocky Horror Show runs October 25, 26, 27, 30 and 31 (all shows 8pm) at MainLine Theatre, 3997 St-Laurent. Tickets available at MainLineTheatre.ca

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Rocky Horror celebrations are a staple of Halloween festivities in Montreal. Revolving around the musical play, Richard O’Brien’s Rocky Horror Show and its film adaptation, The Rocky Horror Picture Show, every year hundreds of people fasten their garter belts to dance the Time Warp again!

There are generally two Rocky Horror Shows in this town.

There’s the Halloween Ball at the Imperial Theatre on Bleury, which features a costume contest, a screening of the film, actors miming the film on stage – with a few amusing ad libs – and audience participation complete with props and call lines. The other show is the play: Richard O’Brien’s musical playing at the Mainline theatre on St Laurent.

It was the latter show that I had the privilege of enjoying this year. Those who have been to the Halloween Ball but not Mainline’s play are doing themselves a disservice as it is truly something.

The Mainline production features actors that do more than mime. The cast is doing all the singing and dancing and speaking of lines. The only audience participation is the yelling of call lines, something the production openly encourages. The actors give as good as they get from hecklers without missing their stride.

There is no throwing of rice or toilet paper, and no one will squirt you with water. The band is live and the “phantoms” who act as backup singers, dancers, and extras, are clearly all skilled performers.

I was at The Rocky Horror Show this past Saturday night and I was not disappointed. The cast was top notch as ever, the music spectacular, and the ambiance was not that of a play so much as that of avid listeners watching the lively telling of a very fun story.

Elyann Quessy reprised her role this year as Janet, the innocent, newly-engaged virgin who gets corrupted over the course of the play. Her pipes were impressive as ever while maintaining the squeak and squeal her character required. Despite the teal hair suggestive of a more rebellious nature in the actress, she was convincing as the innocent girl seduced.

Adrian MacDonald played her fiancé, Brad, replacing Anthony Schuller of last year’s performance. A regular attendee of Montreal’s Rocky Horror celebrations, I have very particular expectations when it comes to Brad. The Brad I know is a fumbling virginal dork trying to assert the aggressive masculinity he doesn’t have.

MacDonald is a great singer and he can clearly do comedy, but he was too masculine for the part. Rather than a fumbling dork, he came off as an irate but otherwise average guy. Here’s hoping he finds his inner geek and hams it up a little more in future performances.

Franco De Crescentis’ Riff Raff is a sight to behold. He was in the play last year, and in the role he manages to surpass the play’s creator, Richard O’Brien, who played Riff Raff in the film. Riff Raff is an Igor-like butler, but in most portrayals he’s just creepy. De Crescentis gives the character a sexy intensity you do not expect from the character, and it works.

Sarah Kulaga-Yoskovitz reprises her role this year as Magenta. As she did last year, she opened the play by singing Science Fiction Double Feature with one of the phantoms, and Kulaga-Yoskovitz can sing. Magenta’s Eastern European accent was consistent throughout the play as was her chemistry with Riff Raff.

Cassandra Bluethner played Columbia, replacing last year’s Maxine Segalowitz. Segalowitz is a tough act to follow and unfortunately Bluethner’s portrayal didn’t do it for me. Columbia is a groupie and in my experience she’s supposed to be feisty and almost childlike. This year’s portrayal reminded me more of a petulant teenager in that “I hate everybody” phase. Her dancing and singing were good, but I wanted more from the character.

Kenny Streule played the Narrator, whom die-hard Rocky fans will know as the Criminologist. His bits are some of the most heavily heckled, and Streule handled it well despite the fact that English is clearly not his first language.

Not sure whether his costume changes between bits were his idea or that of Director Amy Blackmore, but it did help keep the audience on their toes.

Sam Boucher’s Rocky was good, but once again I found myself wishing to see a portrayal that was a lot more physical.

Dr Scott and Eddie were played by Kenny Stein, who also played the roles last year. His Eddie is always good, but his Dr Scott was even better than last year, channeling Dr. Strangelove in his performance. It’s an addition to the character that makes perfect sense, and Stein does it well.

I’ve saved my review of Frank n’ Furter for last because the character is so important to the film and play. Stephanie McKenna is playing the part again this year and she is great, proving that a woman can play Frank as well as any man. Her replies to heckles were seamless and her physicality was indicative of an above average strength and agility that made her performance acrobatic in all the right ways. The one thing that was disappointing about Frank had to do with wardrobe and makeup.

The Frank n’ Furter I know and love wears loud makeup and costumes reminiscent of 70s and 80s glam rock. Frank’s costumes this year were more conservative and the makeup was lacking the garish androgyny of his signature style. It is McKenna’s sass and strength that saved the character from its otherwise boring look.

The band was amazing and Katharine Paradis on saxophone gave the music a more gritty sound suited to the show’s sexual content. The choreography of Amy Blackmore, Holly Greco, Patrick Lloyd Brennan, and Jessica Rae was almost flawless and the phantoms’ execution of it was a sight to behold.

If you don’t like musicals, heckling, or sexual content that embraces all orientations, stay away. If you’re an open minded soul who can behave at a play, see this show. It’s worth it.

The Mainline Theatre’s production of Richard O’Brien’s The Rocky Horror Show – Live Montreal Musical is happening from October 19 to 31. Tickets are $20 in advance and $25 at the door. Seniors, students, and members of the Quebec Drama Federation pay less. For more info and tickets go to mainlinetheatre.ca

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Forget The Box’s weekly Arts Calendar is back for its last November edition. Take a look at these excellent events if you’re looking for fun and inexpensive things to check out!

As always; if you’re interested in going to one of these events and want to cover it for us, send a message  or leave a comment below.

Beaux Dégâts #45 – Tap Water Jam MTL + Ella Grave showcase

Beaux Dégâts is a time-honoured Montreal tradition that combines improvisation in musical and fine arts to create a unique organic event space. From their Facebook page:

“Beaux Dégâts tries to make a parallel between the reality of street artists and the Fine Arts. It is here to bring back what has been ignored for too long by art institutions and return to the street artist’s reality: the importance of community, sharing, accessibility and uniqueness.

For two hours, six teams of artists will improvise 8ft X 8ft murals on different themes given on the night. Each team will have to research and find visual references to create a production in front of public. All mediums except spray cans are allowed. During the evening, the public will vote for it’s favorite mural using their empty Pabst beer cans. The team that will collect the most cans will win the right to paint over the other artists work if they wish.”

Beaux Dégâts #45: Live Improvised Painting and Music – Wednesday, Nov 30, Foufounes Electriques, 8pm-1am. Entrance: 5$

The Crossing presented by Cinema Politica Concordia

Cinema Politica is a media arts, non-profit network of community and campus locals that screen independent political film and video by Canadian and international artists throughout Canada and abroad. It is volunteer-run and all screenings are by donation.

 

The film that Cinema Politica is screening this Monday, The Crossing, “takes us along on one of the most dangerous journeys of our time with a group of Syrians fleeing war and persecution, crossing a sea, two continents and five countries, searching for a home to rekindle the greatest thing they have lost – Hope.”

The Crossing screening @ Cinema Politica Concordia, 1455 de Maisonneuve Boulevard W, Room H-110, Monday, 7pm. Entrance by Donation

50/50 presented at Mainline Theatre

50/50 is a novel concept; a half-scripted, half-improvised live comedy show! This show was a major hit at Just For Laughs 2016 and will not be back for four months – definitely catch this if you can at the Mainline Theatre.

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Coming off a sellout show at OFF-JFL/Zoofest this past July, 50/50 returns with a new cast blending talented actors and hilarious comedians. In each of the show’s nine scenes, a prepared actor who has learned lines off a real script is paired with an improviser who has no prior knowledge of what the actor has rehearsed.

50/50 @ Mainline Theatre, 3997 boul St-Laurent. Wednesday, November 30th, 8pm. $15 (students/seniors/QDF Members $12)

Is there an event that should be featured in Shows This Week? Maybe something FTB should cover, too? Let us know at arts@forgetthebox.net. We can’t be everywhere and can’t write about everything, but we do our best!

ArtsStage

Rocky Horror is my religion.

Every Halloween and during the occasional summer show for the past seventeen years, I’d paint my face and those of my friends, fasten my garter belt and wait in the freezing rain and snow to see the interactive Rocky Horror Picture show.

The interactive show is something every Montrealer should experience at least once. The production doesn’t just show the 1975 movie, but actors also act it out on stage while the audience is invited to yell comments – there are scripts and videos of call lines available online – and throw toilet paper, toast, and playing cards at specific times during the film. There is a costume contest, and prizes are awarded on both the costumes and on what you are willing to do to rile up the crowd. That could mean anything from flashing to doing backflips on stage.

The venues and casts have changed from the Imperial to The Medley to the Rialto and back to the Imperial, but the formula and spirit of the event stays constant. This is a show where you must put any prejudices you have about sexual orientations and gender identities aside. It’s where you have to stuff your prudery and your judgment to celebrate the safe, consensual and fun.

Whether it’s the annual musical play at the Mainline Theatre or the interactive Picture Show at the Imperial, The Rocky Horror shows are not for those who want their intolerances tolerated. It’s for those who believe everyone deserves to feel welcome.

For me the interactive picture show is now sadly a no-go. My health problems make it dangerous for me and anyone with a physical disability as people are regularly bumping and grinding and dancing with each other, and many are drunk.

As a consolation prize to myself, I opted to go to the Mainline Theatre’s production of Richard O’Brien’s The Rocky Horror Show – Live Montreal Musical. If you can get up the treacherously steep staircase of the theatre, the live musical show is no consolation prize but a gem in and of itself.

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With no background movie to compete with, the actors, musicians and dancers truly shine. The voices you hear are not those of Susan Sarandon, Barry Bostwick, and Tim Curry, but of the Montreal cast.

Sarah Kulaga-Yoskovitz, who played Magenta, opened the show with her rendition of Science Fiction Double Feature, a version a lot sweeter than Richard O’Brien’s scratchy one from the film. The “Phantoms” clad in fishnets and garter belts danced around her and throughout various scenes, keeping the show’s burlesque feel true to form. The dancing, while choreographed by Director/Choreographer Amy Blackmore, never felt overly predictable or plastic.

This is one of the few shows where heckling (within reason) is encouraged. If you know the show’s call lines, you are welcome to yell them and even invent some you feel fit the show. The actors never miss a beat and give as good as they get. When Stephanie McKenna’s Frank delivered the line “even smiling makes my face ache”, one audience member yelled that it was from all the blowjobs. McKenna, never breaking character, replied with:

“No, I don’t give blowjobs like you do.”

Rocky was played by Dane Stewart, who portrayed the character’s infantile naivete and sexual curiosity perfectly. Unfortunately, he seemed unable to do the physical moves the part calls for, but whether this was a mutual decision between him and the director is unclear. Rocky is described in film and play as being all muscle and no brains. When Frank starts singing about press ups and chin ups, I expect the person in the role to at least do a push up, but if Stewart can do them, the audience never got to see it.

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Franco De Crescentis as Riff Raff was a sight to behold, stealing nearly every scene he was in. His portrayal made a character who is supposed to just be creepy sexy and intense. His performance was rivaled only by that of Maxine Segalowitz as Columbia.

Segalowitz’s Columbia was the perfect mix of sass, cuteness, and hysteria. She was also physically remarkable, performing the dance moves in a way that looked at once polished and clumsy, and like all great comedic actors, she clearly knows how to take a fall.

McKenna’s portrayal of Frank was prissier than I expected, but she played the role with all the snark it needed. Her physical strength was especially impressive as she could do lifts and simulate sexual positions many men can’t do.

Kenny Stein portrayed both Dr. Scott and Eddie. While Meatloaf raised the bar incredibly high with his portrayal of Eddie in 1975, Stein can sing and got the job done. His portrayal of Dr. Scott as (by his own admission) an old Jewish guy made the jokes about Dr. Scott being a Nazi especially funny.

Elyann Quessy’s Janet and Anthony Schuller’s Brad were what one would expect: nervous nerdy naivete, but nothing outstanding. As they are a foil for the play’s more interesting characters, that’s all you need.

Perhaps the true stars of the show were the band members, who kept the music on point. Led by Musical Director and former Producer of the show, Shayne Gryn, the timing of the music never faltered, even though the actors struggled with only two microphones and one headset worn by Frank, probably the result of a low budget and feedback issues.

If you love snark, sass, and sex, The Rocky Horror Shows are for you. If want to feel part of the experience and don’t mind being hit in the head with a roll of toilet paper, go to the interactive Rocky Horror Picture Show. If you prefer to sit and watch and see local talent at their best while enjoying great music, go to the Mainline Theatre’s Musical Show. Hell, go to both if you can! They’re amazing!

The Rocky Horror Show Halloween Ball is going on October 28, 29, and 31 with shows at 8 pm and 11 pm. Tickets are $17.95 ( + tx and serv) in advance and $19.95 (+tx and serv.) at the door. For more info and tickets go to www.rockyhorrormontreal.com

The Mainline Theatre’s production of Richard O’Brien’s The Rocky Horror Show – Live Montreal Musical is happening from October 20 to 31. Tickets are $20 in advance and $25 at the door. Seniors, students, and members of the Quebec Drama Federation pay less. For more info and tickets go to mainlinetheatre.ca

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Forget The Box’s weekly Arts Calendar is back with for its Halloween edition! We’ve got some great onstage performances coming up in the city, and as always; if you’re interested in going to one of these events and want to cover it for us, send a message or leave a comment below.

We’ve got two different but wildly entertaining version of Halloween cult classic Rocky Horror Picture Show – both are sure to sell out so get there early for last-minute tickets!

Richard O’Brien’s The Rocky Horror Show – Live Montreal Musical

See the sensational play that sparked an international phenomenon. MainLine Theatre presents Richard O’Brien’s musical-theatre masterpiece as camp sci-fi meets sexual exploration, glam-rock, and sensual daydreams to treasure forever. Experience #RockyMainLine up-close-and-personal in an intimate experience with a full live cast, band and dancers!

The show was directed and choreographed by Mainline’s Amy Blackmore with additional choreography by Holly Greco and Patrick Lloyd Brennan. It features Stephanie Mckenna as Dr. Frank N’ Furter.

Oct 27, 28, 29, 30, 31 at Mainline Theatre, 3997 Boul St-Laurent. Tickets $20 in advance or $25 at the door ($15 for students and seniors + a Quebec Drama Federation discount, please call 514-849-3378 for discounted tickets)

The Rocky Horror Picture Show Halloween Ball 

This is the more “traditional” Rocky Horror experience, featuring the original film with live on-stage performances. It will sell out, so get there early!

There is a limit of six tickets per person and all in-person sales are cash only.

There is a student discount of $5 which applies to the October 31st shows only. A valid student ID is required at one of our advance ticket outlets. Limit of two tickets per student. Student discount tickets can also be purchased at the door the night of the show but cannot be purchased online.

Oct 28, 29, 31, Cinéma Impérial, 1432 Bleury.

The Refugee Hotel

Teesri Duniya Theatre’s The Refugee Hotel is a dark comedy about exile, love and the Canadian resettlement experience. Told from the point of view of a young woman looking back on her childhood, Award-winning writer Carmen Aguirre poignantly chronicles the true story of a wave of Chilean refugees who are placed at a hotel in downtown Montreal in 1974, following the aftermath of the brutal Chilean coup d’état, one of the watershed moments of the Cold War.

While chronicling the true story of hundreds of thousands of Chileans who resettled across Canada and around the globe, The Refugee Hotel explores Canada’s ability to accept, support and embrace refugees as new citizens.

The play was written by Carmen Aguirre and is directed by Paulina Abarca. It will be performed in English with Spanish-language subtitles.

The Refugee Hotel Trailer from Chris Wardell on Vimeo.

October 26 – November 13, Segal Centre, 5170 Chemin de la Côte-Sainte-Catherine, Call 514-739-7944 for tickets or purchase them through the Segal online box office

An Illiad

A poet recounts the bloody epic of Achilles and Hector in a sweeping story of rage, violence and grief. Lisa Peterson and Denis O’Hare’s An Illiad is an award-winning adaptation of Homer’s classic which has gone viral, from New York to Egypt.

Chocolate Moose Theatre Co. revisits the Canadian premiere that earned them #1 Theatre Company in this year’s Cult MTL poll! The show, which runs again starting next week is directed by Lynn Kozak in collaboration with Shanti Gonzales It features a performance by Martin Law, set design by Mikey and Sarah Schanz Denis and lighting design by Ceci MacDonald.

Runs November 2-13 at Mainline Theatre, 3997 Boul St-Laurent. Tickets: $15 general / $12 students and QDF
Available online through the Mainline Box Office or by calling 514-849-3378

Is there an event that should be featured in Shows This Week? Maybe something FTB should cover, too? Let us know at arts@forgetthebox.net. We can’t be everywhere and can’t write about everything, but we do our best!

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It’s like déjà vu. Again we found ourselves at The Mainline Theatre for another OFF-JFL show. Tonight we were lucky enough to see Paul F Tompkins & Friends Real and Imagined.

The show opened up with a refreshing set by host Tompkins. It was funny and had the feel of a southern gentleman entertaining us with anecdotes. His set took the common comic theme of being newly married and gave it a new approach, which was both original and funny.

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Demi Lardner

The first comedian up was Demi Lardner, an Australian comic whose style resembled Mitch Hedberg’s witty remarks. Her set was quick, and fun. The crowd responded well.

After Demi’s set, the host returned, this time decked out in a cape and crown and introduced as Andrew Lloyd Webber. He told us about the highs and lows of musicals. The crowd reacted well to this set but it could have benefited from being a little bit shorter and concise. Dressing up in royal garb and emitting the royalty sometimes associated with Webber is not the most original angle, and this hurt the overall feel of the set.

The next comedian up was Mark Forward. Although I felt Mark’s set was unimpressive and lacked a unifying theme, the crowd enjoyed it. Personally thought the jokes about generation bashing were overused and dry. This lack of originality made the set feel long and slow paced.

Mark made his finally appearance as a unique character, a parody of TLC’s The Cake Boss, but this one had the power to read minds.  The bit had originality and showed off some impressive imporv skill when he called on the crowd to ask him about their future.

Overall Paul F Tompkins & Friends Real and Imagined was a good show. Though there were low points, the comics always found a way to kept the show heading in the right direction.

Paul F Tompkins & Friends Real and Imagined runs until July 26th,. tickets available through hahaha.com

* photos by Chris Zacchia

ArtsStage

After catching Stéphanie Morin-Robert at a Confabulation event during Bouge D’ici a few years ago I wrote; “My personal favourite storyteller […] was Stéphanie Morin-Robert […] Morin-Robert had that perfect combination of wit and confidence, and has intrigued this writer to see what she does next.” Turns out what’s next is being a choreographer, working on a podcast, and as the MainLine Theatre‘s artist in residence putting on a one woman show Me, Myself & Eye. Despite being busy preparing her show, which opened yesterday, Morin-Robert was gracious enough to answer a few questions via email.

Stephanie Laughlin: Tell me about yourself.

Stéphanie Morin-Robert: I was born and raised in Timmins, Ontario. I currently work in Montreal as a choreographer, artistic director and administrator for the company For Body and Light . For Body and Light is a collaboration with musician/spoken word artist Ian Ferrier where we create pieces that are intimately inspired by the memory, imagination, strength and fragility of the human body. Recently I also joined the Dirty Feet podcast team as a co-host and producer and I am a collaborating member of the multidisciplinary improvisation collective BODY SLAM directed by Greg Selinger. I’m someone who’s sensitive, emotional and very passionate about everything I do… And oh yeah, I love cats and I have a green glass eye.

SL: Tell me about the artist in residence program at MainLine, and how did you become part of it?

SM-R: I have been artist in residence since September 2013. I am thrilled to be the artist in residence at MainLine because I’ve always had so many projects and ideas to explore, but never had the budget or rehearsal space. My residency has allowed my dance company to host fundraising events and create new work for a tour in 2014, with over 40 performances in Montreal, Ottawa, Saskatoon, Edmonton, Victoria and Vancouver. I have also used this opportunity to develop my own work as a solo performer, for my first one-woman-show Me, Myself & Eye. MainLine is like a second home to me, and the people here are like family.

SL: What makes theatre at the MainLine theater special?

SM-R: Working for the St-Ambroise Montreal FRINGE festival for the last 3 years has definitely allowed me to get a taste of the different styles and artists from different theatre communities. That said, our theatre community here in Montreal is accessible, and that’s what makes it special. That’s what makes MainLine special and what made my solo show Me, Myself & Eye possible.

SL: What attracted you to doing a solo show? What makes your show stand out?

SM-R: As Hugh Laurie said; “It’s a terrible thing, I think, in life to wait until you’re ready. I have this feeling now that actually no one is ever ready to do anything. There is almost no such thing as ready. There is only now. And you may as well do it now. Generally speaking, now is as good a time as any.”

I did this show because I wanted to challenge myself. I wanted to take myself outside of my comfort zone and integrate movement and storytelling by re-connecting with my childhood. Meeting so many amazing artists through the FRINGE has also encouraged me to give it a try. As a choreographer, there is nothing more terrifying then spending time alone in an empty space, and booking Me, Myself & Eye (before the show even existed) left me with no choice, but to push forward and make it happen. No matter how terrified I was, or still am, the show must go on.

Simplicity and honesty is what I bring to the stage. During the show I guide the audience through the multiple transitions experienced while facing self-discovery: innocence, denial, expectations, revenge, and (almost) total control. All of that said, the only thing that might stand out (or pop out) during the show is my glass eye. Beware of the splash zone. (Bad joke)

Me, Myself & Eye is at MainLine Theatre until Saturday, January 25. For a complete schedule and to buy tickets, visit the MainLine Theatre website.

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Last friday, Hello Darlin’ Productions presented the launch of The Custom Outfit’s first full length album at the Mainline Theatre on St. Laurent. The Mainline Theatre is a lovely black-box theater venue that lends itself well to intimate shows and events. The lobby is decorated with many a Fringe Festival poster.

I arrived early and had the opportunity to sit down with The Custom Outfit and chat with them before the show. The Custom Outfit is Russell Simco (Fiddle), Derek Harrison (Mandolin, Vox), Kevin Moquin (Guitar, Steel), Dave Dickson (Upright Bass), and Derek Williams (Vox, Guitar).

The name for the band comes from the tradition in Chicago of calling gangs Outfits and so, Derek W. explained, since the group has changed in membership in the vein of customizing sound, The Custom Outfit was thus dubbed. They cite amongst their influences rockabilly, hillbilly, bluegrass and the likes of Steve Earls, Buck Owens and the Buckaroos, The Pogues and east coast sounding tunes. Watching them perform was a real treat and these guys pack a talented punch: Kevin Moquin delivers some sweet guitar skills evoking old time rock, Russell “Rusty”’s performance has a touch of jubilance befitting of the fiddle, Derek W.’s suspenders and “this is how it is” vocals deliver just the right amount of grit. Derek H’s tie and mandolin skills are quite colorful, whilst Dave’s black upright bass and smooth rhythms create an air of mystery.

During the show, they played most songs from their debut album “The Dark Side of Town”. Amongst them my favorites were “Goodbye to the Moonshine”, “Bad Chemicals”, and “Hookers and Thieves.” When asked if this album has a theme, Derek W. explained that it was “informed by drinking” and the track titles corroborate this. In terms of getting a good brew (for inspiration), The Custom Outfit name Honey Martins, Barfly and Grumpy’s as their go-to drinking holes. When it comes to rockin’, they name Quais des Brumes, Divan Orange, Grumpy’s and Casa Del Popolo amongst their favorite venues in Montreal.

But they’ve played beyond the Island having recently toured Europe for twenty one days, mostly in Belgium and the Netherlands. During this tour, they played shows at a couple of prisons – a venue one rarely thinks about in terms of touring stops. When asked what the experience was like, Russell wittingly answered: “It’s really a captive audience.” More seriously, Derek W. added that playing shows for prisoners is a strange experience and hard to know what to expect. Dave explained that there was a notable difference between the audiences at maximum security prisons and minimum security prisons: “The minimum security prisoners were acting like punks, they didn’t want to be there. The maximum security prison was just off the wall and every one of those guys thanked us and wished us good luck. That was a good feeling.” Most recently, The Custom Outfit played a show in New York, barely missing Hurricane Sandy, at Trash Bar in Brooklyn: “It was a complete hole, it was great,” said Dave.

Along with being very stylish, these guys were overall a wonderful treat for ears that had longed for some whiskey soaked rockabilly. However, the picture of this lovely evening would not be complete without mentioning the opening act: Sarah Jane Scouten and Her Brilliant String Band. The Custom Outift had personally asked Sarah Jane to open their show and it was a very wise decision indeed. Having just come back from a tour, Sarah Jane was all smiles and stories and her and Her Brilliant String Bad (Sarah Frank on fiddle and vox, Mathieu Lacombe on double bass, and Luke Fraser on mandolin) delivered some fun charming southern vibes. Amongst the most noteworthy were the tunes “Ballad of a Southern Midwife”, “Poverty Wind”, and “My Country”. Hearing these melodies live was a warm delight on a cold fall evening.

*Photos by Pascale Yensen