Eight Signs Aladdin is a Comedy

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A review of Aladdin: A Fairly Tall Tale

By Cindy Lapeña

There are certain definite signs that a play at the Confederation Centre for the Arts Homburg Theatre is not a going to be a serious play. Let me elaborate. For the majority of performances, the first person you see or hear is Monique Lafontaine announcing the entrance of PEI’s very important members of the audience (VIMA, for those who haven’t met them) and the token reprise of O, Canada!, followed by her announcement of the theatre rules in English then French, before the lights dim and the first characters enter.

The first sign that this is not a serious play: When a story claims to be a “fairly tall tale” it’s a dead giveaway for humour with a capital H. This is all reminiscent of Mark Twain and his classical humorous short stories, better known as his ‘tall tales’. But this is PEI and the farther away from center you go, the taller the tales.

The second sign: When the program announces at the top of the cover that “This Christmas, Aladdin gets an Island twist!” Unless they meant a new kind of McCain’s French fry twists, this can only be interpreted as the somewhat quirky twisty sense of humour you get from being an Islander, or living on the island long enough to be almost indistinguishable from the rest.

The third sign: Highly unusual program content, such as Gordon Cobb on Aladdinthe cover with a silly face; Graham Putnam playing a suspiciously-named character called “Widow Twanky”, never before heard of in the fairy tale world; another suspiciously-named character named “Baron Wasteland” played by Dennis Trainor who sounds just like Bawwy Kwipky (from The Big Bang Theory); a cross-over character, Sarah Macphee as the Town Crier from last year’s Cinderella: A Fairly Tall Tale.

The fourth sign: Adam Brazier wrote the script and Scott Christian, who was the musical director, is working on his fourth panto. For those unfamiliar with this term, the panto is short for ‘pantomime’ but really isn’t one; it’s the 18th century British take of the traditional commedia dell’arte, and instead of the traditional Italian characters, they turned fairy tales into comical musical plays for Christmas. Knowing what kind of play it is pretty much explains it all, which makes this our ‘Ah, I see,” moment. But it doesn’t end there.

The fifth sign: Instead of Monique Lafontaine, as I mentioned in the opening paragraph, Adam Brazier walks onto the stage apron before the play begins and, like a TV show cue-master coaches the audience to “boo” or say “we love you Widow Twanky” at the appearance of certain characters, you know it’s a play made for kids and the young at heart, and it’s not going to be serious. Just how much?

The sixth sign: The evil Jafar with Rejean Cournoyer’s larger-than-life presence and distinctive rich booming bass-baritone voice uses a classic mwah-ha-ha laugh and interacts with the audience.

The seventh sign: The explosive and rib-cracking opening number is all about Vic Row in Downtown Charlottetown and Aladdin played by the boyishly charming Gabriel Antonacci is actually a Cinderella-boy.

The eighth sign: People can’t stop laughing when Graham Putnam is revealed as the hilarious Widow Twanky who has at least 3 jokes for every nugget of well-concealed wisdom. The Widow Twanky is also our source of adult humour, which, hopefully, none of the little kids in the audience understood.

I am going to stop at eight signs because if I keep on, then there would be too many spoilers to this insanely inane comedy that had me laughing so hard tears actually came to my eyes. Unfortunately, another spoiler alert I can’t help revealing is that the music is original, funny, and on the verge of copyright infringement—but if you listen to the dialogue and lyrics closely enough, they already know that.

There was really just one major spoiler to this panto and that was the problem with the mikes. I know miking for a huge cast in a musical play is difficult, to say the least, but the mikes were often out when they should have been on and it was very distracting for the voices to suddenly blare on mid-sentence or mid-word. Thank goodness, the audience was laughing most of the time they would have drowned out the dialogue anyway. Really. I miss those days when actors did not have to depend on microphones to be heard and that you really had to learn how to project your voice without losing it after the first show.

That said, everyone needs to catch this performance before it’s over, because it will certainly bring you cheer and laughter for the Christmas season.

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Evangeline: The World Premiere of a World-Class Musical

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                  I was in 5th grade when I first encountered the poem Evangeline by Henry Wadsworth Longfellow, who was already one of my favourite poets, because of another popular poem he had written, “The Song of Hiawatha.” Back then, I thought nothing of the significance of the poem, living on the other side of the world where anything about the West was almost a fairy tale. When I learned that the poem had been turned into a musical play, I just knew I had to see it and, in the meantime, refreshed my memory by digging up an old copy of the poem. Ted Dykstra did not disappoint with his well-woven script and amazing songs and music that ranged from spine-tingling spiritual choruses and deeply moving duets for Evangeline and Gabriel, to lively and rousing chorus numbers that had the house tapping and bobbing their heads in accompaniment. Under the masterful direction of Anne Allan, Dykstra’s script was transformed into a powerful performance that deserves Dora Mavor Moore Awards across several categories.

 

The musical Evangeline closely follows the story of Longfellow’s poem with a few artistic liberties, mainly the addition of the antagonist Captain Hampson, played by Rejean Cournoyer, a re-ordering of Evangeline’s stay with the Quakers, and letting Baptiste Leblanc, played by David Cotton, accompany Evangeline on her search for Gabriel, rather than his father, Basil, played by Tim Koetting, who did not remarry either in the poem. The character of Albert Arsenault’s Rene Leblanc in the musical is a merging of the poem’s notary public and story-teller, and the town fiddler, Michael. Evangeline’s encounter with the Creoles in Atchafalaya was represented by the character of Claiborne, played by the marvelous voiced Marcus Nance.  Nonetheless, the changes created the perfect mix for the musical by enhancing the roles of the supporting characters in the poem.

 

The title role of Evangeline Bellefontaine was beautifully executed with passion and strength by Chilina Kennedy, while Adam Brazier as Gabriel Lajeunesse, complemented her with his character’s devotion and undying love for Evangeline. Sandy Winsby played Evangeline’s devoted father Benedict Bellefontaine, while Olivier Leblanc, played as a boy by Nathaniel Ing and as a young man by Louie Rossetti, is an invented character who plays a foil for Gabriel and does what Gabriel’s more reserved and restrained character cannot do. The full cast and crew have been assembled from all over Canada, with several well-known names from around PEI. The choreography was simple and appropriate, although one of the female dancers lost her stride and danced to a different beat in the opening scene. The audio was extremely well-balanced, except for a few times speaking or singing volumes rose suddenly because of character proximity, but the balance was quickly and masterfully restored.

 

The meticulous detail with which costumes and sets have been designed by Patrick Clark is highly commendable as was the execution of the remarkably flexible sets. One thing that makes this production still more astounding is Jamie Nesbitt’s cycloramic video backdrop, which executes a panoramic view that translates Longfellow’s descriptions of the landscape and events into graphic depictions that emphasize the milieu of this story of a woman’s undying love and her strength, courage and determination to overcome all odds to be reunited with her husband.

 

Without doubt, this brand new musical that depicts the resilient spirit of Canadians in general, and Acadians and women in particular, will be welcomed with much applause wherever it is performed in Canada and around the world.

 

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 *This review is also available on ONRPEI.ca

**Evangeline formally opened at the Confederation Centre of the Arts Homburg Theatre, Charlottetown, PE on July 6, 2013 as part of the Charlottetown Festival 2013.