Twilight Cafeby Tony Hall
“Trinidadian playwright Tony Hall’s Twilight Café serves up heaping portions of domestic violence, and director Rhoma Spencer’s theatrically vivid production presents the material with honesty and depth.” – NOW Magazine
Who:
Directed by: Rhoma Spencer
Featuring: David Collins & Raven Dauda
Set, Costumes and Props: Julia Tribe
Sound Design: Nicholas Murray
Lighting Design: Michelle Ramsay
Movement Consultant: Erika Batdorf
Fight Director: Richard Lee
Graphic Design: Jackie McAlpine
Community Marketing: Karen Richardson
Produced by: STAF
Where:
at The Great Hall Downstairs (formerly The Theatre Centre)
1087 Queen Street West (At Dovercourt)
When:
May 16th – 27th 2007
Tuesday to Saturday at 8:00pm Sundays @ 2:00pm
Price:
Tickets are $25, $17 Students and Senior
(Group rates available: call 416.703.2773 x202 or email Amber.)
Tickets:
Tickets will be available at T.O. Tix,
by phone at 1-888-222-6608,
in person at the T.O. Tix booth at Dundas Square
or one hour before showtime at the Door
I’m gonna jump in on a new tack that I acknowledge doesn’t really respond to the previous comments.
First, I would like to make a list of the top 5 “bon mots” that make this interview awesome:
5 Schiavo-ization of theatre as an art form
4 Training? Dogs are trained, not artists.
3 For some reason, artists see themselves as spiritual, emotional, and intellectual Gullivers tied down by millions of low-brow Lilliputians.
2 There’s got to be a progressive way to speak to conservatives. (Hint: it doesn’t involve dehumanizing them.)
1 class is, to appropriate Pinter, the weasel under the cocktail cabinet. Nobody wants to talk about the fact that 80% of the theatre audience is drawn from the top 15% of America’s economic class. Thus, government support of the arts looks like another handout for the rich.
Touche. We should talk about this weasel. Despite our effort to ignore him, he is making a lot of noise.
So well done, except, wait a second, that quote about Stanislavsky is ridiculous. Trying to teach acting without referencing or acknowledging Stanislavsky would be the equivalent of trying to be a painter without acknowledging the existence of the colour white. Any theory or approach to making acting or directing A CRAFT either appropriates his techniques or exists in relation to how it rejects them, but they are always in the picture.
Incidentally, Stanislavsky would probably throw those 3 books out also. The Stalinist regime pretty much forced him to write the 2nd and 3rd and he later rejected much of the first in conversations with Michael Chekov, never mind the fact that it is written in an implausibly pedantic style. But come on, lets try to direct or act in a play without talking considering given circumstances….