It's A Wonderful Life set to song-&-dance wins cheers
All the basic condition theatre requires is that fire last night & those costumes 

& the human voice & people gathered together.  

Sir Trevor Nunn, Director (Cats, 1981 \ Les Miserables, 1985)

Morphing the iconic Frank Capra film into a sunny stage musical is, simply, an inspired artistic innovation. Like the advent of in-line hockey skates, the only question is "How come it took so long...?"  And as if on cue, Peter Jorgensen's adaptation wow'd the pants off the matinee crowd of mainly blue-rinsers + prep school teens, no question. [See Plot Quicky in Addendum.]

The original movie script is almost never referred to for what it really is as sociopolitical commentary -- a confrontation between Marx's humanist dictum and the social darwinist ethos of free markets. George Bailey espouses and lives out existentially as well a simple precept : "From each according to their ability, to each according to their need." 

His building-&-loan association is akin to today's credit unions : the borrowers are its shareholders, not the stock marketeers who manipulate the strings. That bunch of God-fearing churchgoers is represented by Harry F. Potter's banker/gangster cadre in the show -- the powers-that-be klepto's who make up but one per cent [1%] of the world's population but control 80% of its wealth.

George Bailey and family consider the Huck Finn novel gifted them by Angel 2nd Class Clarence, up on the scaffold, when all the melodrama of the Frank Capra script adapted as a musical by Peter Jorgensen has, at last, passed.

Photo credit : David Cooper

A rough-&-tumble fisherman friend hauls out Capra's 1946 RKO Studios classic each Christmas for his family to embrace and enjoy anew both for and in spite of its lines they've all memorized. They are the joy that they are. But what makes the Jorgensen adaptation so special is the music that hi-lites those lines.

As director, Jorgensen hand-picked the actors to populate his cast. 100% fair dinkum! job as the Oz would say. George, played by Nick Fontaine, replicates the crescendos, the emotive whines & the sotte voce snivels that any fan of Jimmy Stewart in the movie can do take-offs on after a glasso vino or two. (My ear caught a mix : Jimmy Stewart as filtered through Stephen Colbert.)

Two others were utter crowd favourites. Jim Hibbard as the whisky-flask-fan Uncle Billy had his most hilarious moments in Act I. Angel 2nd Class Clarence by Greg Armstrong-Morris had a second act outing of sheer energy and wit and giggly-fit hilarity that followed a nuanced 1st act where he was mostly quiet but facially animated as The Observer of George Bailey's life-to-date.

Uncle Billy (Jim Hibbard) and nephew George (Nick Fontaine) do a tipsy-doodle stumble home after enjoying an outing that included more than a few nips of night air.

Photo credit : David Cooper

Sound, steady, sure acting by each of the others in the cast. Their blocking / footwork / choreography and facial expressions as directed by Mr. Jorgensen and Ms. Dunbar gave an altogether MGM feel to the show. 

Who suffers, ever, from a swack of the Gershwin Bros. music as backdrop intermezzos to the traditional Christmas carols? The repeated, lyrical and haunting renditions of "Keep The Home Fires Burning" war anthem and the superb reprise, a cappella, of "Heaven on Earth" at show's end were off-set deliciously by G.G's Rhapsody in Blue riffs that rhymed off musically throughout.

Often costuming is either a front-&-centre feature of a major production -- think Beauty and the Beast here -- or just somewhat taken for granted. But in this play Christian David Gauthier's selections for each character and the post-WWII epoch being portrayed were notable for how they stood out, understatedly, throughout the show. 

For his part, set designer Brian Ball executed a crisp and efficient and visually engaging set of scaffolding and doorways that were tricked out cleverly by Chris Hall's property designs that the cast manipulated cleanly. Nice twofer effort here.

As with most storybook episodic literature -- whether novels or movies or play scripts -- the opening exposition of character and backdrop events and dramatic build-up to the eventual climax and denouement can be a bit taxing on the butt-ism factor for any sitting audience. 

But the slick delivery and quickness of Act II events in this show made one forget the earlier drag-factor almost completely. A hearty cheering Huzzah! from the house for this oh-so-ingenious and smart and quick-witted new take on an old master. I joined in eagerly and joyfully!

Particulars :  New Musical Adaptation by Peter Jorgensen.  Based on the 1946 Frank Capra film [derived from the original story by Philip Van Doren Stern].  Orchestrations & Arrangements by Nico Rhodes.  Produced by Gateway Theatre with the support of Patrick Street Productions. On at Richmond's Gateway Theatre in Minoru Park. Runs until December 31, 2018. Tickets & schedule information by phoning Gateway at 604.270.1812 or on-line @  www.gatewaytheatre.com. Show-time 150 minutes, one intermission.

Production team :  Director Peter Jorgensen.  Associate Director Kayla Dunbar.  Music Director Angus Kellett.  Lighting Designer Craig Alfredson.  Set Designer Brian Ball.  Sound Designer Bradley Danyluk.  Costume Designer Christopher David Gauthier.  Assistant Costume Designer Julianna Franchini. Properties Designer Chris Hall.  Technical Director Theodore Sherman.  Apprentice Technical Director Evan Ren.  Production Manager Josef Chung.  Production Assistant Madelaine Walker.  Apprentice Production Assistant Kate Chubbs.  Stage Manager Yvonne Yip.  Assistant Stage Manager Michelle Harrison.  Apprentice Stage Manager Duston Baranow-Watts.  Apprentice Stage Manager Ashley Vucko. 

Performers :  Greg Armstrong-Morris (Clarence - Angel 2nd Class). Dave Campbell (Gower; Dr. Campbell).  Michelle Collier (Ma Bailey; Mrs. Thompson).  Nathan Cottell (Marty; Bert; Nick).  Cameron Dunster (Ernie; Goon; Angel).  Nick Fontaine (George Bailey).  Kenzie Fraser (Young Mary; ZuZu).  Imelda Gaborno (Violet; Angel).  Jim Hibbard (Uncle Billy).  Vanessa Merenda (Ruth; Mrs. Martini, &c.).  Erin Palm (Mary Hatch).  Nick Preston (Harry Bailey). Braden Saucy (Sam; Martini &c.). Alexander Sheppard-Reid (Young George; Pete Bailey).  Jovanni Sy (Potter; Peter Bailey &c.). 

Orchestra :  Derry Byrne (Trumpet).  Gregory Farrugla (Trumpet ).  Mark Haney (Bass).  Sarah Ho (Violin).  Graham Howell (Reeds).  Angus Kellet (Conductor; Piano).  Laine Longton (Cello).  Alicia Murray (Percussion).  Tawnya Popoff (Viola).  Chris Startup (Reeds). 

Addendum  Plot-quicky refresher for the forgetful : George Bailey from youth forward has been a do-gooder. Saves his kid brother Harry from drowning. Stops the grieving widower druggist Gower from accidentally poisoning a child who has diphtheria. Suppreses all his nascent adult desires to travel and go to university and have a lavish honeymoon -- because others' needs are greater than his own. Carries on Pop's sketchy building and loan association despite the Depression. Makes loans to blue collar day-jobbers. He's the ultimate altruist. Then his dipsomaniac uncle loses the Bailey business kitty. Bankruptcy, scandal, even jail face him he fears. He freaks out. Contemplates a jump off the Bedford Falls bridge.

Entre Clarence, Angel 2nd Class (after 298 years he has yet to earn his wings). Clarence tricks George into saving him from drowning, just like Harry 25 years before. But still George frets and broods. All right, says Clarence : Presto change-o! you're here in Bedford Falls, but I'll walk you through a day or two as if George Bailey had never been born. None of the good deeds you've done or the friends you've made or the family you love ever occurred. Seeing his community in complete tatters, George has an epiphany thanks to Clarence and realizes how "it's a wonderful life" he lives despite its disappointment and setbacks. A final chorus of good cheer, then Curtain!

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Beauty & the Beast returns for 6th holiday visit to ACT
All the basic condition theatre requires is that fire last night & those costumes 

& the human voice & people gathered together.  

Sir Trevor Nunn, Director (Cats, 1981 \ Les Miserables, 1985)

N.B. The following is an updated redux of BLR's  December, 2018 review of this show that I am unable to attend this year. Many of the actors have changed, but the production team is identical and its excellence will no doubt reoccur without missing a beat.

From the footlights : Likely no question my wife and I were the only viewers at the Stanley last December who had never seen Disney's iconic Oscar-winning 1991 cartoon flik. Neither any of ACT's four previous mounts of this show, the 2019 version makes six. Thus except for the movie duet with Peebo Bryson-&-Celine Dion, until last year its music was as foreign to us as its Grimm-like plot line.

For others equally dim about all this, a Plot Quicky helps and won't be too hairy to sum up : Snotty prince disses a witch. She curses him. Makes him into a bearded Minotaur. Gives him a magic rose whose petals will all fall off and petrify him forever in his beastliness. Unless he finds a way to give someone love and be loved in return. 

Michelle Bardache (Belle) and Jonathan Winsby (Beast) make googly-eyes at one another just before the transformation occurs not a moment too soon before the last rose petal drops off. 

Photo credit : David Cooper

The prince's household staff are cursed, too : in the ten years since the witch's visit they are all slowly being transmogrified into household objects like a teapot, a featherduster, a wind-up clock. Like Beast, their fate threatens to be permanent. Entre Belle, a beauty who gets caught up in palace politics saving her eccentric Dad from attacking wolves. Will she learn to love the Beast, and he her before the last petal drops?

What the show brings to the stage : Fact is the premise of La Belle et la Bete (as originally scripted in 1740 by French novelist Gabrielle-Suzanne Barbot de Villeneuve) is downright off-putting to literalists. Princeton University's WordNet dictionary links two definitions associated with la Bete : "the stupid brutal quality of a beast" and "unnatural attraction, including sexual, to a beast". So p.c. trigger warning called for : viewers have to overcome innate prejudicial distate for beastly conduct. 

The way to sidestep one's anti-beastie bias, however? Not hard at all with this theatre production. It'll happen just like magic through this magnificent Arts Club show, no question. Make the beast look less like a Frankenstein character and more like your hippie uncle Herbie who lives in the wilds outside Nelson. Put a suit on him and the possibility of true love flowering between him and Belle (syn : goddess, enchantress) soon takes root.  

Beast tries to "normalize" the relationship with Belle to woo her over by having her read to him. It just might work -- his Harry Rosen threads are trick, but he still needs to consult with his barber.

Photo credit : David Cooper

Production values that shine through : Spectacle is what the stage show is all about, and spectacle the Arts Club production delivers in spades. It's a roundhouse flurry of costumes, music, lights, sets, staging and absolutely eye-popping choreography.

Alison Green's set with its numerous fly's and scrims and scenery wagons results in a compleat envelopment of the sumptuous Stanley stage. Coupled with Gerald King's richly inventive lighting design the effects are dazzling and enchanting.

Then there's Barbara Clayden's captivating and bewitching costumes dozens and dozens over for the 20 characters who roam and romp and rollick up, down, over-&-around the kinetic sets from castle to townsite to woods for two mesmerizing hours.

Gaston leads the local pub-rabble through a hearty beer-toast as they party it up hoisting brewskis in hopes the arrogant, tumescent hunter will win the intellectual Belle's heart instead of that ugly mortal Beast. 

Photo credit : David Cooper

Mesmerizing in large measure because of choreographer Scott Augustine's re-do for the show of local wizard Valerie Easton's 2008 fancy footwork. First there's Gaston's beer stein swillery antics pictured above. Then comes the "Be Our Guest" caper of the troupe with knives & forks & plates & platters busting out of them all over not to mention their folies bergere kick-up that was clockwork perfect. Truly a hoodoo of wonder and amazement to watch and cheer to.

Absolutely terrific co-ordination of the off-stage orchestra with the on-stage action. Of the band, Henry Christian's trumpet, once again, proves how crisp and heavenly that horn can be.

And speaking of sound, Chris Daniels' sound design was not just notable but embracing. Never in any ACT performance has the amplification of singers' voices with live orchestra been more stunning on the ears : every lyric and word heard perfectly, no drowning out by the band. 

Acting pin-spots : Fewer "pin spots" to note than full-on kliegs and floods for the whole ensemble. As the muscly bully Gaston, Kamyar Pazamdeh does a reprise of the role this year. No doubt his acting will once more be buff writ large in a role made the more spoofy his sidekick LaFou, played this season by Ali Watson. 

Those characters are magnified deliciously by the skippery scantering Shawn Macdonald who appears this year once again as chief-of-staff Cogsworth. His riffs are pure hoot and hilarity. Bernard Cuffling as Maurice, well, septuagenarian Bernard Cuffling could don the greasepaint and play Othello and the crowd would giggle-&-cheer-&-stomp their approval of him, no question.

Who gonna like : Must say I don't believe up to December 2018 I had ever heard an opening night audience so robust and spontaneous and eager in their joy! at what they saw unfold as musical comedy theatrics in front of them. And while a Standing O! is commonplace among Vancouver audiences -- too often knee-jerk -- on last year's opening night it was well! well! well! deserved. 

Faithful readers of BLR know that personally I tend toward the intense and gritty small-stage stuff of a David Mamet or Anosh Irani or John Patrick Shanley more than I do big-stage musical theatrics. 

But this, this! was a night to remember. Truly a spectacle that treats eye-&-ear-&-funny-bone-&-heart in equal measure. This is a romantic comic circus of fun that every generation will get a seasonal buzz from without any doubt. 

Particulars : Original Disney Theatrical Productions (1994) : Music by Alan Menken. Lyrics by Howard Ashman-&-Tim Rice. Book by Linda Woolverton. Produced by Arts Club Theatre at its Stanley stage. On until January 6, 2019. Tickets & schedule information by phone at 604.687.1644or www.artsclub.com. Run-time two-and-a-half hours, including intermission.

Production team :  Director Bill Millerd.  Musical Director Ken Cormier.  Original Choreographer Valerie Easton.  Production Choreographer Scott Augustine.  Set Designer Alison Green.  Costume Designer Barbara Clayden.  Lighting Designer Gerald King.  Sound Designer Chris Daniels.  Projection Designer Joel Grinke.  Stage Manager Caryn Fehr.  Assistant Stage Manager April Starr Land.  Apprentice Stage Manager Koh Lauren Quan. Fight Directors Mike Kovac with Ryan McNeill Bolton. 

Orchestra :  Ken Cormier (Director; Keyboard).  Henry Christian (Trumpet).  Martin Fisk (Drums, Percussion).  Sean Bayntun (Keyboard).  Sasha Niechoda (Keyboard).  Andrew Poirier (Trombone).

Performers :  Susan Anderson (Mrs. Potts).  Michelle Bardache (Belle).  Keiran Bohay (Ensemble).  Sierra Brewerton (Ensemble, Dance Captain). Graham Coffeng (Lumiere). Bernard Cuffling (Maurice).  Caleb Di Pomponio (Ensemble). Austin Eckert (Ensemble). Elizabeth Ford (Chip).  Meghan Gardiner (Madame de la Grande Bouche).  Erik Gow (Monsieur D'Arque).  Shannon Hanbury (Babette). Caleb Lagayan (Ensemble).  Jennifer Lynch (Ensemble). Shawn Macdonald (Cogsworth).  Makayla Moore (Ensemble).  Kamyar Pazandeh (Gaston).  Ali Watson (LeFou).  Jonathan Winsby (Beast). Synthia Yusuf (Ensemble).

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  Bombay Black is a dark tale of cultural cruelties
All the basic condition theatre requires is that fire last night & those costumes 

& the human voice & people gathered together.  

Sir Trevor Nunn, Director (Cats, 1981 \ Les Miserables, 1985)

No question the movie Slumdog Millionaire was many people's introduction to contemporary India as viewed through a Bollywood lens. Not so Anosh Irani's 12-year-old script Bombay Black. The story is a tale of flawed, disfigured victims of cultural compulsions and energies that populate the sub-continent. It is a metaphor wrapt in a myth, a fable, a legend, a Freudian fairy story, a concise epic of life as it may once have been, perhaps still is, in vast complex India.

Start with an exploitive, vengeful money-mad mom who forces her teen daughter to dance privately for men. For 3,000 rupees (Cdn$60 today) on the condition the men do not touch her. Now enter a blind man. His tale from an Indian village from 15 years past unearths secrets that not only scare the women but cause their lives to trip, punishingly, into and over one another. It is as if Shiva's wrath has been unsheathed.

Munish Sharma as the mysterious blind villager Kamal breaks all the rules with dancer Apsara (Arshdeep Purba) when she allows him to touch her, contrary to her controlling, rapacious mother's rules of engagement. 

Photo credit : Raymond Kam

There are fundamentally three aspects of Iranian-Canadian Anosh Irani's play that magnetize the viewer in Diwali Artistic Director Rohit Chokhani's clever re-imagining of the script. Light/dark and chiaroscuro visuals. Terrific soundscape. And the acting. Oh the acting.

Rarely on a regional stage like Vancouver's Firehall is one treated to such commanding and captivating performances by each of the three principals. Of Nimet Kanji's mother, Padma, an acquaintance put her forceful nuanced expressionism succinctly : "She could be brushing her teeth on stage and I would be mesmerized." Her facial contortions match Padma's loving, treacherous soul with this daughter she loves and despises both.

Nimet Kanji as her daughter's "promoter" and jailer tries to tell Aspara (Arshdeep Purba) the "truth" about why her daughter must dance enticingly for men to appease the gods as well as earn rupees so she can buy meet to feed the Bombay eagles out of her hand off the studio balcony.  

Photo credit : Raymond Kam

Perhaps not enough can be stated without abject hyperbole about Munish Sharma's turn as a blind man on a mission, Kamal. For 90 minutes he captured stunningly both the inward and outward essence of being blind, or "always in black" as he put it. Eyes half shut the entire time, his gentle persistent phantasy-weave in efforts to find and win back his child bride was hypnotic. He spins a dizzying tale again and again about warring gods, a dancer and a lotus flower -- a story he wants to make real.

Daughter Apsara -- named for a Hindu goddess / temptress / assassin -- was given a bold and embracing turn by Arshdeep Purba. Her Bhangra/Bollywood-inspired dance techniques that she started learning as a grammar school kid were spellbinding : not just charming but bewitching. The story of how and why she was afraid even as a late-term teen to venture out into the local neighbourhood market without clutching mom's sari makes for a breath-taking bio-sketch involving her never-seen priest of a father who banished her and her mother from their village of Badu for being demons.

Sound Designer Rup Sidhu faces the prospect of Jessie Award inevitability for his tour de force production. He starts with 120 decibel soundscape of Bombay street scenes with their incessant horn toots, scooter exhausts, random voices and bells and dogs and general din. The audience is invited to wear a scarf over their eyes to imagine Kamal's world prior to the show starting. And start it does -- with a percussive bang! of light and sound : absolutely astonishing music to open the show, a trad seductive wedding dance serenade called "In Aankhon Ki Masti" by Asha Bhosle. [See goo.gl/zMzTXL].

Similarly, Chengyan Boon's lighting composition was a lyrical mix of starburst explosions mixed with oblique half-lights and purposeful all-dark moments to reflect freshman Director Chokhani's totality of vision.

Irani's script reflects Canada's intercultural, raw-cut sights and sounds and flavours that are thrown together mulligatawny-style across the land. Almost impossible to imagine this piece attracting much notice in USA, by contrast, except among the most earthy Greenwich Village or Berkeley bunch. The story told is lyrical and horrifying and uplifting, literally, at the end. For its composite strengths in acting, sound, light, dance, & mythos it surely is a not-to-be-missed event of stage imagination cut loose and set free that utterly and wholly engages both brain and heart.

Particulars : Script by Anosh Irani (that won a Dora Moore Award in Toronto for Outstanding New Play, 2008). Produced by Firehall Arts Centre, Donna Spencer, Artistic Producer.  At the Firehall Arts Centre, Gore at Pender. On until December 15, 2018.  Run-time 120 minutes, one intermission.  Tickets & schedule information @ Firehall

Production team :  Director and Producer Rohit Chokhani.  Set and Costume Designers Tanya Schwaerzle & Rohit Chokhani.  Sound Designer Rup Sidhu.  Lighting Designer Chengyan Boon.  Dance Coach Gunjan Kundhal.  Voice Coach Alana Hawley. Stage Managers Tanya Schwaerzle & Emma Hammond.  Publicist Teresa Trovato.  Associate Producer Shanae Sodhi.  Production Associates Ayush Kathuria & Ashley Rose.

Performers :  Nimet Kanji (Padma).  Arshdeep Purba (Apsara).  Munish Sharma (Kamal).

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Doubt, A Parable is a lesson about populist black-white ideas 

All the basic condition theatre requires is that fire last night & those costumes 

& the human voice & people gathered together.  

Sir Trevor Nunn, Director (Cats, 1981 \ Les Miserables, 1985)

Deny doubt. Project certainty. Berate unbelievers as infidels. Such is the nature of populist trends world-wide. Whether in America, Hungary, the UK, Saudi Arabia or in German districts formerly under the Soviet thumb. 

Interestingly, however, this life-view as created by John Patrick Shanley's 2004 script heralds the Pope Pius XII epoch of WWII. It is not a reaction against 21st century democratic liberal thought that populism these days hisses at. No question. What goes around comes around.

The source is a self-righteous nun who heads a grade school in Kennedy-epoch Bronx of the early 60's. Pope John XXIII's Vatican II loosening of the church's strictures is apostasy to her. She is a traditional Bible thumper. Terror grips her students and her soul as she espouses conformist, prescriptive doctrines of good-&-evil. They reel off her lips like epigrams. 

Sister Aloysius kicks off the show's action by insisting to a naif junior nun at her school that another teacher, Father Flynn, is molesting the only black student in their ranks. Why have doubt when you know -- and it's all you need to know, you believe -- that the student emerged from the priest's office with wine on his breath and a wrinkle across his brow. "I think it -- thus its truth must be a certainty!" is the drift of her solitary, cloistered brainwave.

Talulah Winkelman portrays Sister Aloysius who has all the certainty and confidence of moral rectitude that the traditional church was able to drive into her over the years. No need to harbour doubts when truths are self-obvious, she believes.
Photo credit : David Thomas Newham

This is not, however, a monochromatic bit of characterization by Mr. Shanley. Stage sophomore Olivia Lang as Sr. James projects a sympathetic and empathy-wrapt new Grade 8 teacher. Her joyful lack of artificiality is in studied contrast to the smug-seeming Sr. Aloysius (Talulah Winkelman), the school principal. Speaking of one oft-truant student Sr. Aloysius says "He has a restless mind." "But that's good!" Sr. James proclaims. "No, it isn't," retorts Sr. Aloysius. "Boys are made of gravel, soot and tarpaper. Don't be charmed by competence, because satisfaction is a vice. Innocence is a form of laziness," she coaches her junior colleague.

One could not help but think of Maggie Thatcher as a role model for the principal. Hard-edged decisiveness is the only antidote to moral relativism she suggests over-&-over. 

The primary doubt in the piece comes from Sr. Aloysius's belief, based on circumstantial 2nd-hand evidence, that Fr. Branden Flynn (David Thomas Newham) -- the boys' basketball coach -- has seduced the school's only black student, 12-year-old Donny Muller, after plying him with sacramental wine. When confronted, Fr. Flynn denies denies denies. Of course. Set in 1964 in the Bronx, the "old boys club" in the church will have half-a-century to go before they start looking at the man in the mirror and seeing their true skin, not make-up. 

The play starts and ends with examination of doubt, first by Fr. Flynn recalling "the secret of alienating sorrow" of folks upon JFK's assassination a year back. Sr. Aloysius calls his sermon "poetic", but she is 100% put off by community outreach efforts and his palsy-walsy coziness that are all the rage under Pope John. She instructs Sr. James : "I want to see the starch in your character being cultivated. You must be the students' fierce moral guardian. Stand at the door, you are the gatekeeper : they should be uncomfortable in your presence." 

In the end -- in Mr. Shanley's worst line of the play -- Sr. Aloysius echoes the doubt motif. Expressly. More effective had she said through her tears, "I feel adrift here; I only wish God would speak to me more plainly." 

The words "sexual politics" and "patriarchy" were virtually unknown expressions in 1964. But in Sr. Aloysius's realm they are raised pointedly, if obliquely. Fr. Flynn challenges her to "out" him if she dares : she will lose her prestigious job in the bargain, he declares. Later, young Donny's mother (Liza Huget) is summoned to the principal's office to be cross-examined about her son's relationship with Fr. Flynn. She tells of her son being beaten regularly by her husband because Donny "is that way" and Dad is apoplectic to learn this as the boy hits puberty. But, defiantly, Mom insists : "You can't hold my boy responsible for what God made him. Sometimes things are not black and white!" she shouts. 

Ultimately Sr. Aloysius seems to get her way. Fr. Flynn's chummy pulpit parables lose out when she tricks him into requesting a transfer to another parish. Earlier he explains his story-telling sermon technique to Sr. James by saying "The truth makes for a bad sermon. It tends to be confusing and have no clear conclusion." To Sr. Aloyisius, however, suspicion is less confusing. By directing how it will run its course, she brings about a clear conclusion even though it is based on a fairy tale she made up for the occasion.

Doubt, A Parable is black box theatre finely wrought by Seven Tyrants and its remarkable production crew. How a 450 square foot stage on the top floor of the Filipponi's notorious Penthouse strip club can embrace an audience so grippingly is a tribute to all concerned. Terrific delivery by all four actors amidst a compelling minimalist set by Lynda and Gary Chu lit "spot on" by Philip Schulz. 

Playwright Shanley states "Doubt requires more courage than conviction does, and more energy; because conviction is a resting place and doubt is infinite; it is a passionate exercise." 

The truth of his observation is being played out not just in The Vatican, but around the world on so many political stages. For a dramatic foray through dialogue about where the truth lies in today's world, this show is designed and delivered with precise, passionate performances that will deserve more than just one nod at next year's Jessie Awards.

Particulars : Script by John Patrick Shanley.  Produced by Seven Tyrants Theatre.  At the Tyrants Studio stage, top floor, The Penthouse Club on Seymour @ Nelson. On until December 14, 2018.  Run-time 90 minutes, one intermission.  Tickets & schedule information @ Tyrants. 

Production team :  Director Bill Devine.  Set and Prop Designers Lynda and Gary Chu.  Sound Designer Daniel Deorksen.  Slighting Designer Philip Schulz. Stage Manager Samantha Pauliuk. Costume Design The Company.  Publicist Marnie Wilson.  Front of House Manager Cobra Ramone.

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