Theatre Review by Christina Manolescu</MARQUEE>
On route to the theatre to see HOUDINI, apart from the famous-name recognition, I had no idea what to expect. It turned out to be a grand dazzling carnival affair in the main lobby, followed by an extended prelude within the theatre itself.
Under Brynna Wasserman’s direction, and decked out in Sarah Armstrong’s gorgeous costumes, a troupe of vaudevillian entertainers roamed the crowds: the hairy man, bearded lady, diminutive master of ceremonies, fortune-teller, dancers, jugglers, singers, trapeze artists and acrobats—all offering cheery greetings, palm readings, and whatever else!
Everyone was purposefully upstaging everyone else in this ebb and flow of zany artistic effervescence
The performance itself (a speed-trip through half a century) is a carnivalesque blend of Houdini’s celebrated life story and historic legend, served up as musical mystery and suspense. Reminiscent of grand-scale Broadway, it remains close up and personal enough to seem intimate, enlivened by some brassy music from a live onstage band.
A darkened stagey backdrop beside a cozy lit parlour serve to divide Houdini’s life into separate compartments. This is where sensational versus mundane, domestic dramas simultaneously play themselves out: Houdini’s life-long bond with his artiste wife and business partner brother, for example, as well as his deferential, even slavish affection for his comically possessive, guilt-mongering mother.
On the other hand is Houdini’s emerging love affair with fame and the disciplined artistry of illusion. Early on, he responds to the public’s taste for feats involving genuine danger. Conflict is ever-present, too, through his derisive public campaign against well-known Spiritualists, occultists, and so-called cheats, including even the famous Sir Arthur Conan Doyle (Rod Campbell). Moving in such lofty circles, no surprise that his adversaries were correspondingly powerful.
Film and stage actor, Kevin Kraft, portrays Houdini, who to the very end retains a Peter-Pan flair for never-ending youth. Rope by rung, he escapes the training-ground of vaudeville entertainment to enjoy the world-class status he eventually achieves. On route, he falls prey to the forces of ego, the ravages and high-speed thrills of delivering mass entertainment. To his credit, Kraft does the honours and performs Houdini’s celebrated magic tricks on stage, ever as dramatic as they are suspenseful.
Bess (Lauren Stanford), as Houdini’s wife, gives a finely understated performance, unforced and naturalistic; Theo (Gab Desmond) is noteworthy in the role of Houdini’s brother. Mrs. Arthur Conan Doyle (Gabrielle Maes) is superb and all powerful during the séance scene—a theatrical attempt to convince Houdini that a genuine spiritualist ‘contact’ has been made with his recently deceased mother ‘on the other side,’ Cecilia Weiss (Valerie Boyle).
What comes across in all this is Houdini’s contemporary impact as a fearless free-thinker, maverick and pioneer. Life, according to Houdini, was to be lived on his own terms; from his beginnings on poverty street to his phenomenal ‘super-star’ popularity to his inevitable decline and fall.
One of the world’s most famous daredevils, he successfully challenged the so-called ‘humanly impossible’ within the mind-body-spirit continuum. As a fixed icon of modern times, the great Houdini symbolizes the universal—and inspirational—break-out impulse for liberty and freedom.
Houdini features some of the legendary escape artist’s most famous routines. Don’t miss this entertaining, musical ride through Houdini’s life- from his humble vaudeville beginnings to the heights of his fame.
Director Bryna Wasserman, recognized for her staging of large-scale musicals, was eager to bring Harry Houdini’s story to a bigger audience after the success of the Dora Wasserman Yiddish Theatre’s The Great Houdini in 2000. The book for this all-new production is by Ben Gonshor, with music and lyrics by Elan Kunin. For Wasserman, the story speaks to modern audiences: “This is a throwback to the turn of the twentieth century, a time when theatre was there to involve and engage the public.” She continues, “The idea of the world and technologies changing and moving forward was also prevalent at that time. People were moving away from live entertainment and seeking out the newer inventions, like movies.” Playwright Ben Gonshor understands the complexities of mounting a musical of this scale: “It’s one hell of a challenge but we’re committed to making magic happen for you on stage. In a sense, we’re “pulling a Houdini!”
For this very physical production, Wasserman is joined by a dazzling cast comprising Kevin Kraft in the title role, along with Valerie Boyle, Rod Campbell, Gab Desmond, Gabrielle Maes, Paul McQuillan, Christopher Ryan and Lauren Stanford. The ensemble features Paul Cagelet, Francois Dagenais, Claire Duncan, Rachel Gauthier, Holly Gauthier-Frankel, Alison Gelinas, Jason Noel, Brad Picken, Holly Raye, Lauren Roy and Jake Smith.
This production will present a live, six-piece band with such well-known Montreal musicians as Chet Doxas, Jim Doxas, Dave Martin, Morgan Moore and bandleader, John Roney. Albin Konopka is the music supervisor and John Gilbert is the music consultant.
The creative design team includes Yannik Larivée, set; Luc Prairie, lighting; Sara Brians, choreography; Sarah Armstrong, costumes and Rob Denton, sound. The magic consultant is Greg Kramer and Yves Nevue is the artistic/circus consultant. Lorna Wayne is the assistant director, Merissa Tordjman is the stage manager and Melanie St-Jacques completes the team as assistant stage manager.
“What does he mean, "be careful?!” I hang myself upside down in straight jackets one hundred feet in the air and he's telling me to be careful!” - Houdini
Bryna is Artistic and Executive Director of The Leanor and Alvin Segal Theatre. A graduate of New York University’s prestigious Tisch School of Fine Arts, her extensive career includes work at the American Place Theatre, The Vivian Beaumont Theatre at Lincoln Centre, the Mercer Street Theatre, the Vancouver Opera Company and the Folksbiene Playhouse. Recent credits with the Dora Wasserman Yiddish Theatre include God of Vengeance, Lies My Father Told Me, Fiddler on The Roof, The Golden Land, Double Identity, The Dybbuk, On Second Avenue (the Drama Desk Award-nominated, historic co-production with New York’s Folksbiene Yiddish Theatre) and most recently Those Were The Days. In 2000 she was awarded the Montreal English Critics Circle Award (MECCA) of Distinction for her contribution to the development of the Montreal theatre scene.
Ben Gonshor is a writer, actor and musician. A native Montrealer, he has performed bass guitar with various local artists for over fifteen years and been a contributing writer to numerous local publications. A lifelong member of The Dora Wasserman Yiddish Theatre, he most recently starred in the company’s original musical production of Lies My Father Told Me and performed in the orchestra for Those Were The Days. He holds an M.F.A. in Motion Picture Producing from the prestigious Peter Stark Producing Program of the School of Cinematic Arts at the University of Southern California. He currently serves as Director of Marketing and Communications & Executive Producer of Online and New Media for the Segal Centre. Houdini is his first play.
Elan Kunin began his professional musical career as the star and orchestrator in The Apprenticeship of Duddy Kravitz for the Dora Wasserman Yiddish Theatre. He subsequently went on to become the lead actor, music director, composer and arranger for numerous plays including On Second Avenue, Old Wicked Songs, The Threepenny Opera, Double Identity, Fiddler on the Roof, Lies My Father Told Me (music and lyrics) and The Great Houdini which won the Masque award for best semi-professional production. Elan was last seen in the Drama Desk nominated On Second Avenue Off-Broadway in New York and later in Los Angeles.
Kevin has performed extensively across the U.S. and has appeared on Broadway in Forum and off-Broadway in Johnny Guitar, American Dreams and The Fartiste. Other theatre credits include She Loves Me (Arena Stage), Floyd Collins (Actors Theatre of Louisville), As You Like It (The Acting Company) and The Full Monty (West Virginia Public). TV and film credits include: The Nanny Diaries, All My Children, Ed and Duston Checks In.