I should say right off the bat that I wasn’t expecting much when I went to see Brave New Productions’ Buyer & Cellar at Montreal Fringe. Though the show was a hit at Montreal Pride last year, the whole idea of a one-man show struck me as egotistical and pretentious. I am very happy to say that this play and its star, Donald Rees, proved me wrong.

The show is about a gay aspiring actor who, having recently been fired from Disneyland in LA, finds himself hired to work as the only clerk in the mock shopping mall of Barbra Streisand’s cellar.

When I asked Rees what audiences should expect, this was his reply:

“Expect to see me sweat and eventually lose my voice. I’m (half) kidding. Buyer & Cellar feels like story time with an old friend. It’s a fast-paced and funny show that mixes an energetic theatrical performance with elements of stand-up comedy.”

And he was right. Amidst show tunes and impressions of Streisand that were at once funny and deferential, there was a delicious amount of charm, snark, and humour. You don’t feel like an audience member at this play, but rather someone who is letting a new friend tell their life story.

The only flaw I could find in the play was with regards to the language. The hero’s boyfriend, Barry, is Jewish, as is Streisand, so there are a lot of Yiddish words that may be lost to audience members unfamiliar with Jews and Ashkenazi slang.

I mean, one could always look the words up on their phones, but using your phone during a theatrical performance is just plain rude. Brave New Productions would be wise to include a Yiddish glossary in the show programs for future performances.

To go further into detail about the show would be to spoil it, and I think that if you love storytelling and aren’t homophobic, you should see this play; it’s delightful. Instead, I’m going to treat you to the chat I had with Donald Rees about the play itself, what brought him to it, and what to expect in the future:

What drew you to this play?

I read the script about five years ago, and even though I knew nothing about Barbra Streisand (for example, I had no idea she removed the middle A from her first name), I thoroughly enjoyed the story. The script itself is wonderful and has elements of stand-up comedy, which I love.

Is it more of a challenge playing a one-man show? What do you feel the differences are as a performer?

I think, between the first run and these encore performances, I’d forgotten just what a challenge the show was. On the one side, in terms of text memorization, it’s an incredible volume to commit to memory.

I won’t lie. Every once in a while the audience cracks me up and I’ll lose my spot. So far, I haven’t had to reach for the script to get back on track, but it’s backstage just in case.

The real challenge is energy. There’s no break. It’s over an hour of my energy mixing with the audiences’ reaction. Near the end, it starts to feel like a marathon.

At the Fringe, the added challenge is our limited time slot, so we have to push the pace a little harder. With that, the challenge is still to make sure that the laughs still land and the emotional parts still have time to sit and resonate.

Why do you think Buyer & Cellar was such a hit last year?

That’s a great question. I know we were up against a show which was basically naked men singing cabaret songs, which clearly has naked men and songs (I’m a big fan of both those things) and then we were up against RuPauls’ Drag Race show (also a fan), but luckily people still came out to see the show.

I think it may come down to the fact that it’s good old-fashioned theatre and that really speaks to people these days. It’s not complicated, it’s not convoluted. It’s also not politically charged, which is maybe refreshing these days.

What do you feel resonates most with audiences?

Laughter feels so good to the soul and this show is filled with moments of laughter. It’s nice to just sit down for story time. In the end, it’s so wonderfully written, and brings up some wonderful themes we can all relate to.

The play addresses issues of employment, the price of fame and more. What do you think the most important issue addressed in the play is?

Barbra has a lot of stuff. Who doesn’t? But what happens when you start to value stuff more than people? Without revealing too much about the ending, it really comes down a loving reminder to appreciate the people who matter in our lives.

Will the play run only during Fringe, or do you anticipate appearing at Pride 2018 as well?

For now, the plan is for this to be the final run. When it comes to comedies, I’d rather do less performances with fuller audiences, not for any reason other than people feel more comfortable laughing at a busy show, so it’s a win-win for all.

But I’m excited to tell you that we are preparing something very special for Pride this year. We had such a great experience with Fierté in 2017. This year we are returning with the Canadian Premiere of Gently Down The Stream by Martin Sherman.

I don’t think I’ve ever been more excited for a show. It’s a powerful piece of theatre that explores LGBTQ history, but has this beautiful hope and energy to it. The performances are astounding and humbling to me. We’ll be sharing more details about that after the run of Buyer & Cellar.

* Buyer & Cellar runs until June 16th as part of the St-Ambroise Montreal Fringe Festival. Tickets available through MontrealFringe.ca

The trans march kicked off Montreal’s Pride week yesterday in Place de La Paix. For its third edition, the event chose to focus on the rights of trans migrants. Organizers called attention to the additional obstacles faced by transgender migrants, especially when changing their gender and name on official documents.

“It’s completely sad that trans migrants have to wait up to seven years in order to be able to change their documents while trans Canadians can easily do that, thanks to Law 35 and the Law 103,” explained Dalia Briki, spokesperson for the event.

Law 35 was passed in 2013 to allow transgender people to change their legal gender without having to undergo surgery and removed the obligation to publish their transition in the newspaper (which was actually a thing). Law 103 recently extended that right to minors.

However, this much applauded update of Quebec’s Civil Code has little effect on trans migrants since immigration procedures do not allow them to change the gender they were assigned at birth.

“We feel trans migrants have been left aside. The government did not help them, the government only helped trans Canadians,” deplores Briki, who identifies as a trans immigrant and woman of colour.

Demands trans march1in the press release include:

  • Removal of Canadian citizenship from admissibility conditions for a change of name and sex in Quebec’s Civil Code
  • That documents of immigration authorities at the provincial and federal levels recognize the actual current gender of migrants
  • That deportation of trans people cease
  • More funding for organizations specifically aiding trans migrants

Around 150 people of all ages and genders gathered in Place de La Paix around 2 PM. A couple of transgender people of colour spoke to the crowd and a short march started, followed by a pick-nick.

A special effort was made to ensure that people of all origins, economic backgrounds and abilities were included. French and English translations, as well as a sign-language interpretation were available. Organizers provided snacks and bus fares.

Speeches particularly focused on the lack of accommodations in immigration services and procedures, the disproportionate rate of violence against trans women of colour and the deportation of trans immigrants despite obvious risks to their safety.

Studies conducted in Canada and the US found alarming rates of violence against trans people, and especially trans women of colour. According to the National Coalition of Anti-Violence Programs, 55% of victims of hate homicide documented in the US in 2014 were transgender women. Almost all of those were women of colour.

“You don’t talk because you’re scared, you’re afraid to be in trouble. Migrants don’t say anything. Well, I’m talking now,” declared one speaker as the crowd cheered.

Pride and Representation: The Ongoing Saga

Euphorie dans le genre organized the event on the eve of the official start of Montreal’s Pride week.  Pride activities across the world have often been accused of failing to properly include both the transgender community and cultural minorities. The feud between Black Lives Matter and Toronto Pride last month brought a sudden spotlight on this issue.

Dalia Bikri is “quite worried” about the lack of representation of both communities in the Montreal chapter as well. The trans march, she says, wants to fill that void.

“I feel that trans people of colour are not involved in the organization of the big events of Pride as much as they should be. On the other side, at least in our trans march, trans people and migrants are on the front line.”

The distinctly militant aspect of the march also sets it apart from the usual Pride events, believes Bikri:

“Pride tends to be more celebratory. Our march is more militant. Our needs have not been fulfilled; our demands have not been fulfilled, that’s why we are marching.”

According to co-organizer of the march Gabrielle Leblanc, “there is not quite enough” representation of the trans community in the overall organization of Pride yet, but it’s “getting better every year.”

Montreal Pride runs from August 8th to 14th.