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Anarchy is in the air in two contrarily berserk disparate productions accident beyond the burghal appropriate now.
In The Times They Are A Changin’ , which originated at Toronto’s Harold Green Jewish Theatre Company and plays at the Segal Centre through March 22, husband-and-wife aggregation Louise Pitre and W. Joseph Matheson bless ’60s beef songs, accurately those accounting by artists with Jewish heritage.
The appellation clues us in that Bob Dylan will be a cogent presence. Indeed, snippets of that eponymous song are threaded throughout the 90-minute appearance like an added apocalyptic admission to disenchantment. The accompanying video projections, put calm by Dan Bowman, ambit from capricious psychedelia, airy images of animated ’60s personalities and a adventurous new apple of technology, to shocking, iconic photos such as the beat “napalm girl” and the arbitrary beheading of a Viet Cong member.
Pitre, who delivered a aerial achievement as Édith Piaf in The Angel and the Sparrow at the Segal, and Matheson, who appeared with her in that 2018 show, acquisition a nice antithesis amid these moods. At aboriginal it comes beyond a bit like a acquiescent lounge act, but they anon blooper out of academic black abrasion and into added comfortable, hardly added countercultural denims. And while the commitment of the songs is initially appealing abundant accessible listening, Pitre accouterment up a few apparatus as the appearance progresses to absolutely let rip, as in the defiantly feminist You Don’t Own Me and the shattering, gospel-like Save the Country.
Matheson, who wrote the between-song commentaries, understandably leaves the big, amazing moments to Pitre, generally dubbed Canada’s aboriginal adult of agreeable theatre. But he has affluence of agreeable moments too, decidedly the vaudeville-style, deceptively blithe anti-war I-Feel-Like-I’m-Fixin’-to-Die Rag.
The appearance follows the accustomed arrangement of the nostalgia-heavy jukebox musical, but Pitre, Matheson and administrator Avery Saltzman haven’t consistently gone for the accessible song choices; several selections had me Googling already I got home.
There are, however, affluence of crowd-pleasing greatest hits, including The Sound of Silence, One Fine Day and It’s Getting Better. The binding animation of this aftermost song darkens in Pitre’s commitment afore she and Matheson segue into the agilely adverse Where Have All the Flowers Gone. It’s a admonition that the decade of annual ability and make-love-not-war eventually gave way to the blood-soaked quagmire of Vietnam and bourgeois retrenchment.
Still, the aggregation is acute abundant to accelerate the admirers home with a smile, with He Ain’t Heavy, He’s My Brother and an a cappella adjustment of Forever Young (the five-piece bandage bottomward their instruments to accompany in) accouterment an adorning acme to this enjoyable, generally absorbing show.
AT A GLANCE
The Times They Are A Changin’ continues through March 22 at the Segal Centre, 5170 Côte-Ste-Catherine Rd. Tickets: $67; apprentice and under-30 discounts accountable to availability. Call 514-739-7944 or appointment segalcentre.org.
As with that progressively aphotic decade, the affair is pooped in Les 3 Soeurs, administrator René Richard Cyr’s decidedly abrupt adjustment of Chekhov’s 1901 classic. It plays at Théâtre du Nouveau Monde through March 31, and has Evelyne Brochu branch the ensemble as the badly lovestruck Masha.
The blind opens not on the accustomed Chekhovian accouterments of bleared samovar and abundant furniture, but on a few hard-back chairs and some blatant balloons. It’s the name day of youngest sister Irina (Rebecca Vachon), and the affection is ablaze with hopes of an agitative move to Moscow. But again the sparklers abort and the balloons are access by atrociously antisocial army captain Solyony (Vincent Côté), and the alone change to attending advanced to is the advancing bloodbath of war and anarchy that some acclaim Chekhov with predicting.
Cyr has atrociously pruned the argument and diminished the casting list, bringing the accepted three-hours-plus to about 100 minutes. The amplitude is advisedly compressed, too, emphasizing the airless imprisonment.
It makes for a added active estimation of Chekhov than we’re conceivably acclimated to. (There’s additionally an association of banana grotesquery that seems added evocative of Gogol.) It may or may not appear as affable account that the crushing apathy of the characters’ lives is article we’re told about rather than allowable to experience.
AT A GLANCE
Les 3 Soeurs continues through March 31 at Théâtre du Nouveau Monde, 84 Ste-Catherine St. W. Tickets: $35 to $77. Call 514-866-8668 or appointment tnm.qc.ca.
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