My mistress

I realised that Stratford Festival in particular, theatre in general, is my mistress. I'm ok with that.  Stratford makes me think, makes me prioritize, puts my heart on my sleeve to rediscover what has been hidden for so long. Stratford gives me a hug when I need it. It kicks me in the gut when I need it, too. It never disappoints me and fills my heart with hope.

There are far worse things I could be doing far worse things with my life. Plus, I almost always have one of my kids with me. It's not as if I am abandoning them while I am off cavorting. I think I have only been to Stratford twice this summer alone. One was for Romeo and Juliet. The other was Tommy.

Plus, the youngest had their play, The Grunch, until just before school ended. This week, 3/4 kids volunteered for Driftwood Theatre's Bard's Bus Tour. They were ushers, greeters, and helped Steven at the concession stand. Oh, Cordelia loved helping and being around someone who let her be her, and let her help out. She had a blast.

It is a great season so far at Stratford. The boy who played Charlie Bucket last year in their production of Willy Wonka plays one of the 10 year old Tommy's. Luke played his dad last year. I still need to take the kids to see him. I had to see it first. With a molestation scene, and 10 year old Tommy being brought to a prostitute by his dad, I had to make sure they'd be ok with seeing Josh up there. It's pretty benign, those scenes. I still need to bring them. Dakota was on stage with Josh, too, in The Music Man.

Tommy itself is quite the spectacle (don't see it if you have a concussion). The singing is extraordinary. Jeremy Kushnier has a most incredible voice. Well, all of the cast does. Paul Nolan, who played Christ in Jesus Christ Superstar, plays Cousin Kevin is fantastic. He is quite versatile. Kira Kuloien as Mrs Walker has the poise of a mother of that time. She's hopeful and gentle with Tommy (Josh). I adore her. And wow - is she beautiful! And, of course, there is Lee Siegel. We love Lee.

Romeo and Juliet has grown on me. Cordelia had tweeted Antoni Cimolino last year requesting Stratford to do it this season. Coincidence? She takes all the credit. We saw the show May 1 in all her glory. Jonathan Goad is perfection as Mercutio. Sara Topham is adorable and heartbreaking as Juliet. Daniel Briere is a wonderful Romeo (and quite the rock star at the stage door - great hair cut). Kate Hennig plays The Nurse in all her daftness incredibly well. Antoine Yared`s Paris is fantastic. I always thought of Paris as a bit of a priss, but he doesn`t play him like that at all. Tyrone Savage plays Tybalt. I don`t think there are many actors at Stratford with his swagger and projection. I love watching him onstage.

I`ve seen this play 2 more times since May. The third time I was struck dumb. I don`t know what changed, but it became magical on that stage. It`s like fairy dust from Queen Mab was sprinkled over it. It has more finesse, but also much more heart. It captivated me like I didn't expect.

The Three Musketeers is good fun. it starts off with the sound of a sword fight. In my family, that demands attention and begs to be seen multiple times. Luke Humphrey knocked my socks off as D'Artangnan. It's a great show for children of all ages, like the circus, except here, it's costumes and swords and love - not clowns (thank goodness). It's great to see Mike Shara on stage again. Cordelia really to a liking to him in The Matchmaker last year.

Going back to my childhood, Blithe Spirit was one of the first plays I saw with my mom. It is the show I was most looking forward to this season. It certainly did not disappoint. Seana McKenna can do no wrong. As Madame Arcati - wow. I will only ever see her in the role from now on. Michelle Giroux (possibly distant relative because my maiden name is Giroux - she's also Graham Abbey's wife) was out of this world (no pun intended). The command she has of her voice, the tones of her voice, lead me along like a puppy after treats. Sara Topham (young Juliet in R&J) transformed herself into an angry and controlling wife by play's end. I want to steal her costumes. Well, the patterns of her costumes. It was also funny seeing Ben Carlson be picked on by 2 very strong female characters. I want to go back.

I want to go back to Blithe, but I need (read NEEEED) to go back to Waiting for Godot. I won tickets and took Luke, who is almost 12. It was his turn to go since his siblings had already been this season. I had trepidation bringing him to a Samuel Beckett play, but I am very glad I did. Godot is a master class in acting. It got my heart racing (Randy Hughson). Made me cry (my favourite from last year as Pistol, the Swooney Tom Rooney). Made me raging mad (Brian Dennehy). Made me wince and feel melancholy (Steven Ouimette).  And my Luke? He got it. He understood the play.

I've been going to theatre my entire life, except for maybe the first 5 or 6 years. This is by far, the best production I have seen. I wish I was a wordsmith. I knew by the cast that it was going to be a remarkable production, but in my imagination (and I have a large and healthy imagination), I could not have envisioned anything close to this. When can I go back?

A note about our trips to stage doors. Actors and actress at Stratford are kind, patient, and very loving to the kids when I bring them to the doors (I never go by myself). I see it that the kids need to understand that they actors aren't their characters (important for Cordelia last year after 42nd Street and Sean Arbuckle). The kids can ask questions, which sounds pretty basic. But, if you are a child, or a shy teenager, speaking to the stars of show takes courage, takes them out of their safety zone. While I may be the one who starts the conversation with the actor/actress, they always turn the conversation to the kids, without fail. I love them for that. Sure, I get my own questions in and make small talk, too, but the focus is on the kids and them. It teaches them that actors or actresses really are just regular people with high profile jobs. They encourage the kids to keep up their acting (Tom Rooney made sure to get Luke talking about doing Shakespeare) and they encourage me to keep bringing the kids.

Theatre teaches so many things about life, important lessons that people would be hard pressed to learn in more singular professions. Teamwork (cast AND crew), trust, learning about others you work with, or on the pages of the plays, being ready and available, reliability, fun...the list goes on. We have never met anyone who has not been patient, even if they were in a rush. The kids learn that they are important to people. That people will listen and take the time to get to know them. And thank them for coming.  The kids will remember that feeling more than anything, I would wager. They have their favourites - all of them.



I'm off to play a board game with the eldest boys and my mom. We are going to play crokinole. That is a blast from the past. I don't think I've played since I was 12. This should be fun. Next post will be about Driftwood Theatre and what we are doing in Kids4Bard this year. We are having a BLAST!

Walls of our choosing, or built by someone else?

Say what you will, but I went to Stratford without my family knowing on Friday. It wasn't really that I meant it as a secret. The eldest were at a dance in Brampton and the younglings were being taken care of at home. I was in London (Ontario) for a 4 day birth and breastfeeding conference (another tale for a different blog) and had a great night to myself.

As per usual, and I know most moms would agree, all hell broke loose at home the first night of the conference. Why do families do that to those who are out of the home? I'm sure it isn't on purpose, but what is a mom to do 100 kms away, run home to fix it?!

Theatre therapy couldn't have come at a better moment for me.

The show of choice was Wanderlust. http://www.stratfordfestival.ca/OnStage/productions.aspx?id=16136&prodid=41239 I loved it, thoroughly enjoyed it. I'm sure if it didn't kick me so hard in the gut, I would be singing its praise even louder. There are only 2 shows left. I'm kind of glad I only saw it once.

Leaving my personal reasoning behind, this show is exceptionally well done - from the men AND women singing, to the gorgeous costumes, lighting design (I love the flying bird and the snow), and choreography - it was damn near perfect. Hmmm I'm not quite sure what would have made it perfect. More Lucy Peacock perhaps?  I don't know...

It probably was perfect...

To get it out now - at one point, there were 7 men singing on stage. Happy Snoopy Dance...

Then, there was Robin Hutton (http://www.stratfordfestival.ca/OnStage/productions.aspx?id=16287&prodid=41239&id2=6367) and Lucy Peacock . They have distinctly different voices. Robin, and perhaps it was just because of her character, sings like an angel. Lucy Peacock sings like she should be singing the really good old jazz - singing from her soul. I think she stole the show. She was sexy, provocative, made a great drunk, and SINGS! I know I've posted this link before, but here is a quick mix of the songs. http://www.youtube.com/watch?v=CbnmMB_LUwc  These 2 incredibly talented women are why I don't want a woman to sing to me on my birthday next year. I'm far too jealous.

Tom Rooney made me swoon...maybe I'll nickname him Swooney Rooney? [bad joke, sorry]

Now, the part of the story I want to talk about, the one that kicked me in the gut, was a scene between Lou and Robert. Their discussion was whether living in a 'cage' is palatable since if it was chosen by the person, compared to having someone else build one for you. Lou was deciding on whom to marry, fully understanding the consequences of it.

This made me reflect on an article written by Kevin Yee (Linus in Charlie Brown, and in the male chorus, I guess you could say, in Wanderlust).

Before I go further, read this article Kevin wrote: Boy, band, bust. My heart broke/breaks when I read this article, mostly this part:

But music was not the main concern for the group’s management; marketability was, and I was their main target. One day our manager walked me into the offices of our record label for a closed-door meeting with the head executives. I was told that if I wanted to be a star I would have to do a few things. Translation: change everything.

“You’re coming off gay. It’s okay if you are, but we’re selling this band to teenaged girls. They’re the ones spending money. The success of this group is contingent on these girls having a crush on you, so you have to act like you like them.” What does it mean to act more straight? “Well, let’s start with the way you walk. You walk very gay, and we need to fix that.” So the lessons began. We would walk up and down the aisles of a grocery store practising my “straight walk.” Said “straight walk” is best described as a slow lurching limp, a far cry from my superb balletic posture.

“We need to make you look . . . well . . . not so . . .  you.” With that I was sent off to get my hair spiked and bleached white. A few piercings and a fake tan and I no longer looked like me; I looked like a rebellious sea monkey.

Kevin was 15 when this happened. FIFTEEN! What a horrendous thing to say to a child, to a teenager who just by being a teen boy means feeling ill-equipped to fit into an ever changing body and mentality. Add to that, being a 15 year old gay teenager, who had to look like a 'rebellious sea monkey" to be in the band.

How does one begin to wrap their head around that?

What I was thinking was whether it was Kevin's choice to be okay to 'straight walk' in order to be in the band (his walls), or it was it the record company's force which built the walls? I know I'm harping on his age (I have a 15 year old son), but can a 15 year old boy really understand the consequences? Either way, it must have been horrible to act as someone/something you are not.

It was deplorable of the record company to demand such a life change of Kevin.

As a straight female I can say Kevin Yee was a sexy beast on stage in Wanderlust. Learning to "act straight" paid off for him here, but at what consequence to those years between 15 and 18?

The day he came out must have been the most liberating moments of his life. He said:

When the band ended three years later, the first thing I did was come out of the closet. I was sick of pretending to be someone else and wanted to be happy. I gave up on the music industry. If they couldn’t appreciate who I was, then I wasn’t interested.

As for me, I have walls, a full cage, built up around me - but not of my own choosing, at first. It wiggled, and slithered around me over the past 15 or so years until it started to choke the life, my inner-voice, the essence of 'me', out of me. There have been parts of me locked away. I know that I have agreed to a wall or two in order to keep the peace, but others were slowly built around me like slow-drying cement (if there is such a thing).

I've worked hard over the past couple of years to be heard. The cage, once sound proof and double locked, now has dozens of holes which were kicked, punched, and head-butted out by me. Plus, I found the keys. These breathing holes mean the world to me.

What made these holes? Stratford, my kids' theatre productions, Art of Time Ensemble, art galleries, the Barenaked Ladies cruise, old time jazz, counselling, prayer...

It took Wanderlust to smack me in the head and yell, "WAKE UP, STUPID!"

Although I'm not dealing with homosexuality, I'm dealing with the constraints of a life where patience and hope have been demanded and expected of me. I have done things, agreed to some things, not to others, which some people have told me to do to keep status quo to allow others time to heal. I'm at the point in my life where I know this must stop. I want to be happy with my choices, like Kevin was/is with his.

And if I will still have walls, they will be built by me.  Good luck to whoever tries to break them down.

I've been thinking about this seriously for the past 2 or 3 months, a much shorter time than others may think.

Hearing Lou and Robert speak of her decision, about agreeing and therefore being in control of her own borders, or about relinquishing and giving the control to others - even though the physical outcome may be the same was hard for me to swallow. What she says is so true. The decision to speak up for your own heart  comes at a cost...but what a pay-off!

Going against your intuition is self-defeating.

Time to burst out of my cage.