Theatre Review by Christina Manolescu</MARQUEE>
Classically beautiful Stephanie Breton is stunning in her two mirror-image portrayals: Neurotic lover anticipating the fatal end of her romantic liaison in ‘Kiss me my Stomach Hurts.’ And sullen dominatrix confronting her self-aggrandizing mate in ‘Watermark.’ Breton's dramatic training at L’Ecole du Mime is evident in the way she imparts a subtext to each of her roles through the subtlest of body language and facially expressive art.
Neil Kroetsch in ‘Henry’ also deserves special mention for his role as self-deprecating, blundering academic drawn into the sleazier worlds outside his comfort zone and beyond his ken. In complete contrast, Kroetsch is devastatingly funny in his portrayal of a ribald, worldly wise and probably delusional dope-smoking Vietnam ‘vet’ in ‘Background Players.’
Scoring points for equally versatile acting is Trevor Hayes in his triple role as weepy six-foot-tall hoodlum-in-training in 'For the Children,' barstool confidante in ‘Rushmore’ and down-on-his-luck Lothario in ‘Just a Dress.’
Kent McQaid ratchets up the volume and the comedy as the soon-to-be-deserted husband in 'Love is a Funny Thing' — quite a contrast from his role as blaspheming Master-Burglar in 'For the Children.'
However, among the darker elements of the sequence is a belated confession related over a couple of beers. In a halting and suspenseful account of past sins, Leif Anderson brings to life a macabre and surreal tale in the segment entitled ‘Rushmore’.
Dan Jeannotte is superbly convincing as both the conflicted mama’s boy in 'Kiss me My stomach Hurts,' and the naïve, verbally hyperactive, Elvis-impersonating youngster in 'Background Players.'
Alison Louder brings a smooth sophisticated catwalk appeal to her role as ‘hooker’ in 'Henry.' As impressionistic, exuberant young party girl in ‘Just a Dress,’ she verbalises a dazzling ‘stream of consciousness’ from one end of the spectrum to the other, bringing the comic suspense (as well as the entire sequence) to an unexpected, yet natural finale.
The diverse segments that make up ‘Peccadilloes’ are somehow tenuously linked; each of them trafficks in the human experience with its myriad frailties and defects, both comic and morbid. It probes into the human condition, revealing the fleeting torments and desires of the mind and heart. Some challenge! Our kudos to this talented theatrical team.
Montreal, September 2006 - Whip Theatre presents Peccadilloes, an entertaining evening of eight short one-acts. With taut writing and fine interpretive acting, these urban glimpses let you in on unexpected moments. Part of the human condition, we often expose our little sins, failings and indulgences when we least imagine it. Expect a range of characters, situations and relationships drawn from the darkness, humour and quirks of modern life. Director Wendy Clubb is excited by the simple concept -two handers- where the tales and the writing are so strong.
Peccadilloes’ cast keeps commenting on how great it is to act playwright Jon Rannells’ text. Rannells is an actor, writer and director and is one of the founding members of Toronto’s Dogtooth Theatre Group. A powerful new contemporary voice with a knack for dialogue, his scenes offer insight into the dysfunction of relationships, taking a particular interest in a character’s imperfections and predicaments. A collection of Jon Rannell’s one-acts have been performed hree times over the past three years; Jocular Digressions from the Bughouse Mezzanine (Dogtooth Theatre Group), Cracked (Black Rabbit Theatre Company) and Je ris...moi non plus (Théâtre de la Zone Grise).
Whip Theatre originally stems from the name W.I.P., for Work in Progress. Starting three years ago, Wendy Clubb, along with Kent McQuaid, Leif Anderson, Malcolm Travis, Lucinda Davis, Morgan Kelly and Mariah Inger, would get together every two months with a handful of other actors and work on scenes for two weeks, with a final presentation for friends and family. Whip Theatre’s mandate is to produce theatre “that connects us to the world around us and stirs the soul.”