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.
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 email@example.com. We can’t be everywhere and can’t write about everything, but we do our best!
The Chilean refugees who arrived in Canada in the 1970s and 1980s, particularly in Montreal, have been a community that has captivated me throughout the past two years. I was therefore ecstatic to have the opportunity to see The Refugee Hotel staged at The Segal Centre. Despite some awkward translation into English and a difficult script to work with, the play is an excellent one that I recommend – particularly after yesterday’s events in the USA.
These brave Chileans who came across the oceans were faced with two choices; the first being to trust that everything would be okay for them in Chile if they kept their heads down, stayed in line, and trusted that the military would “make Chile great again”. The second: to restart their entire lives in a country with a new language, new food, new music, and of course, the omnipresent “Canadian values” (still searching for a definition of those, other than the ability to properly cross-check someone).
Teesri Duniya Theatre’s production of The Refugee Hotel does its sincere best to answer these questions. The script draws from author-and-playwright Carmen Aguirre’s lived experience as the child of Chilean refugees growing up in 1970s Canada. It’s an impressive story made even more poignant by its autobiographical basis.
This is one of the reasons that it is so frustrating to review this play. Though the premise is admirable, Aguirre’s play shortchanges itself by trying to fit too many facets of the Chilean refugee story, and indeed, the story of human migration, into two short acts.
At the centre of the play are Jorge (Pablo Diconca) and Flaca (Gilda Monreal), a married couple who represent two sides of the resistance movement in Chile. Jorge is something of a milquetoast pacifist anarchist accountant, while his wife is a firebrand Marxist active in the MIR (the Revolutionary Leftist Movement).
Their two children escape with them to a hotel in Canada, where they meet other Chilean refugees subjected to inhuman torture in the Carabineros’ concentration camps. The rest of the play progresses at a slow pace as each rediscovers their humanity and intimacy, one-by-one in a frustratingly perfect way.
By “frustratingly perfect,” I mean that of course the mute girl is coaxed into to talking at the end of the second act, and she falls for the man who talks with her first, and of course they end the play with a freeze-frame photo motif. The play’s unfortunate dives into clichés keep it from developing serious critiques.
Jorge and Flaca’s struggle to be intimate once again despite the horrific sexual torture that the Carabineros inflicted upon her is a topic that is criminally underrepresented in works of art; and even less so is it approached sensitively. An exploration of that theme alone would have made for a powerful and moving production, but Aguirre’s insistence on shoehorning so many important themes into the play means that extraordinarily difficult trauma from torture is treated as nothing more than a plot point. For example, two suicide attempts that happen within two minutes of another are treated as comedic moments.
Moreover, I felt that the repeated flashbacks to scenes of torture in the Estadio Nacional de Chile are not used to explore the characters’ motivations and histories, but rather as punctuation marks for the drama as a whole.
The play is being performed at the Segal Centre, which bills itself as the heart of Montreal’s Anglophone theatre culture. This presents an interesting double-edged sword for the actors in that they are reading from a script originally written in Spanish, for an English-speaking audience in French Canada.
Certain recurring parts of the script (such as the nickname for Jorge, “Little-Big-Bear”) sound awkward in English where they would have made perfect sense in Spanish (“Osito Grande,” better understood as “Teddy Bear”). On a larger scale, the familiar words, particularly “desaparecido,” used to articulate the brutality of the Pinochet regime are lost in translation.
Furthermore, the play misses opportunity to develop a more nuanced comedic character in Bill O’Neill, the enthusiastic Québécois hippie who helps the guests at the Refugee Hotel find work. In the Spanish script, he speaks with comically poor but confident command over Spanish, but in this English adaptation, his dialogue sounds like a 19th-century caricature – “Army me take to stadium. Bad men take Bill!”
Other than awkward phrasing, this makes the characterization of Bill difficult for the audience, as he is repeatedly referred to (kindly) as “the only gringo who speaks Spanish.” In poor translation, Bill’s character shifts from that of a Canadian activist with a sincere wish to improve his Spanish and act in solidarity with Chilean refugees into a buffoon.
This is the part of reviewing that I do not enjoy. The story itself is captivating, and the curation behind the set design and music choices was phenomenal. I just wish that the story was more focused on one or two of these families, instead of a script that leaves several important facets of post-traumatic stress equally unexamined.
All of this is not to say that I did not find the play enjoyable and tastefully performed – in fact, the actors did a stellar job working with an awkward script, and the set direction was simple and elegant. I give a special commendation to the Set Designer, Diana Uribe, who placed the beds of the hotel at an upright 90º angle, which allowed the actors to remain part of the action, while staying true to the stage direction to lie supine.
The music choices, namely the major-key Victor Jara folk ballads that accompanied scenes of horrific torture in the Estadio Nacional may have been shocking to people unfamiliar with Chile’s musical history – but it seems a deliberate nod to the famous Cueca Sola spot produced by the Anti-Pinochet Campaign during the 1989 plebiscite made famous by Pablo Larraín’s 2012 film. This is made all the more poignant by the fact that Victor Jara was tortured to death in the Estadio Nacional, specifically targeted and brutally murdered for his popularity and beliefs.
Speaking with the actor who played Jorge, Pablo Diconca, I learned that many of the cast came into this production with the explicit goal of putting faces to the communities so left behind by history. Diconca is a Uruguayan-born Montrealer who has been an integral part of the local theatre scene since his arrival in Canada at 19:
“I can not ever forget the fact that I have an accent, and I will always have one. This has restricted me as an actor – I have played drug dealers, murderers, and taxi drivers more than I can count,” Pablo told me. “When I came to Canada, I refused these roles out of principle…but with time, I came to realize that acting is my passion, and that by being on stage, this is how one becomes involved in the local culture and community. One must put their heart into acting. It becomes easier when the script is [about] something you already have in your heart. I was invited to be a part of this cast, and I didn’t see how I could turn it down. This is a play that can help to open minds.”
Teesri Duniya’s Artistic Director and co-founder, Rahul Varma, explained to me that he chose to stage this play as a way of “challenging the notion that 9/11 of 2001 divided the world into pre-9/11 and post 9/11…there have been so many other 9/11s, such as the 9/11 of 1973.” Rahul is of course referring to the military coup in Chile that took place on September 11, 1973, where the Chilean Air Force bombed downtown Santiago and assassinated the democratically-elected head of state, Salvador Allende.
Rahul continued, referencing the current Syrian refugee crisis, “I thought that this play brings certain realities of the past and connects them to what is currently happening. The idea is to look into what has happened – why is it that refugees are coming to Canada? Why do people leave their homes elsewhere?”
According to their website, Teesri Duniya Theatre “is dedicated to producing, developing and presenting socially and politically relevant theatre, based on the cultural experiences of diverse communities.” They are an incredibly important part of Montreal’s Arts community and I am thrilled to see that they took it upon themselves to tell the story of an underrepresented and important part of Canada.
As we draw to the closing of this play’s run at the Segal Centre, as well as the dawning of an unprecedented dark cloud over North American immigration politics, it is important to remember the lessons left by Chilean-Canadians’ struggles in and out of their homeland. I salute Teesri Duniya Theatre, The Segal Centre, and the cast and crew of this production for shining a light on the challenges faced by refugees in a sensitive and responsible manner despite an unaccommodating script.
El pueblo unido jamás será vencido.
The Refugee Hotel is playing until Sunday at The Segal Centre (5170 ch. de la Côte-Ste-Catherine). Tickets available here.
Based on the book Fifty Shades of Grey, Spank! takes a whimsical look at bondage and S&M and comes up with the crazy realization that human sexuality, when you think about it, is ridiculous.
Starring Amanda Barker, accompanied by Alice Moran and Patrick Whalen, this enjoyable parody of Fifty Shades of Grey lit up the Centaur theatre on its opening night at Just For Laughs. The book set middle-aged women on fire all over the country last summer. This summer the book is twisted just enough to explain why whips and chains excite some, while romance excites others.
Amanda Barker plays E.B. Janet, the dirty minded author who likes to drink white wine in the afternoon while writing steamy erotic novels while her husband is at work. She creates a young virgin character played by Alice, who, like in the book, will be our guide through sexual escapades with her new found “love” Hugh. Unfortunately for her, Hugh is more interested in bondage then love.
Janet invites us into her novel-writing process…which involves either creating hot subliminal message-filled encounters in hardware stores or an invitation to Hugh’s secret “red room” that make for some amusing pun heavy conversations that will make you smirk, and perhaps, shutter in your seat.
E.B. Janet often breaks the fourth wall with the audience as she looks for help in writing this “masterpiece” of erotic fiction, which makes the play a little more interactive than the other shows at this years Just For Laughs. Even if you’ve never read the book you can still get by with the performances given in this comedy driven play.
Before departing for the show I screened an arsenal of videos on YouTube of the show from Chicago and I would have to say the Montreal cast I watched was far better. While the show didn’t get a great review from Pat Donnelly of the Gazette, I quite enjoyed it. While at times a little sophomoric, the show is very aware that the humour lies in its erotic content.
On a separate note Spank! changed my previous opinion that the Centaur is a stuffy old English theatre filled with old people, that really doesn’t take risks anymore with their productions. Downstairs there was a booth with a table displaying vibrating lipstick, whips and cuffs! I hoped no one in attendance recognized me or saw me buying anything. I might just give this whole domination thing a chance.