~~ “Church Girl”~~ A Theatrical Review

Great theatre is still alive and well!

With Michael Charles at the helm of Profile Entertainment Group, they continue to ensure that Toronto is graced with and by quality theatre. Friday September 2 saw the first performance and Saturday September 3, 2011 will see the last showing of the must see urban musical, “Church Girl” at the Sony Centre For The Performing Arts, 1 Front Street East in Toronto, Ontario.

Playwright Angela Barrow-Dunlap has become so adept at crafting quality work, that Urban Theatre’s Leading Lady is often called “The Doctor”. In her play “Church Girl”, Barrow-Dunlap, operates on issues often ignored in church circles. The play’s simple tag line will draw the inquisitive. “What would make a church girl give up her soul to dance on the pole?”

This classic tale of good battling evil is masterfully told under the very capable direction of Reuben Yabuku.

Your emotions will run rampant as you journey with well-developed characters through their own troubles. During the entire performance, I admit my eyes misted several times; I laughed so hard my throat and stomach hurt.

Juxtaposition is widely used to breathe depth unto a stage that keeps your head turning in order to keep up with each scene – The clashes work.

Along with local Canadian actors, the seasoned cast include Demetria McKinney, who plays Janine on Tyler Perry’s “House of Payne”; Clifton Powell, who played opposite Jamie Fox for the film “Ray”; A’ngela Winbush, and Robin Givens. With the entire cast delivering memorable performances, this “brief review” cannot hope to adequately explore the full range of acting, dance and musical talent with which the audience was presented.

Demetria McKinney plays protagonist Emily Franklin, the “Church Girl”. Mckinney elegantly brings life to a character morphing through the turbulent phases of self discovery. The beauty of Demetria, is that she is at ease with the yin and yang of the young woman who must chose her own path. Torn between the “calling” of the Lord on her life and the call of the world, Emily must decide how to have her cake and eat it too. When Demetria McKinney delivers her lines or reaches for a musical note, it is Emily Franklin that is personified.

Clifton Powell treats the audience to a simply awesome performance as the antagonist Jacob Sinclair. As the perfect villain attempting to ease himself into the life of our church girl, Powell is simply “believable”. Whether it was the lighting, his own personal ominous soundtrack of the intensity of Powell’s face, Jacob Sinclair is not mistaken for anything other than what he is. In interviewing Powell, he sums it up perfectly, “Sinclair is a bad guy.” In taking the stage, Clifton Powell leaves himself in the wings and allows his character the privilege of coming to life.

No stranger to putting her soul into music, when A’ngela Winbush as Maya Franklin opens her mouth in song, you stop and listen. As Emily’s mother and pastor of the church, she is integral to this urban tale that is sure to continue filling theatre seats.

Robin Givens playing “House Mother” Catherine ‘Cat’ Jones provides us with a character we must either feel pity for or despise. Though there are times when it may seem unclear how you “should” feel about the woman “in charge” of the girls, we will agree that without Cat Jones, the story would lack a certain je ne sais quoi.

With scenes that often threatened to turn the audience into a congregation of worshippers, Church Girl accomplishes the sometimes daunting task of pleasing theatre goers at the very core. There are truths that you will recognize, truths you may want to shy away from. This story, does not allow you to hide in the shadow of ignorance. More than quality entertainment, “Church Girl” educates. The play is a social commentary of the possible mental state of our youth and the slippery slope down which they can slide.

Find a way to see this production. Tell a friend – you will not regret it.

Church Girl

September 3, 2011 8:00PM
Sony Centre For The Performing Arts:‎
1 Front Street East
Toronto,ON M5E 1B2,Canada
(416) 368-6161

Son of Pain ~ A Boy's Innocent Reflection on the Celebration of Osama bin Laden's Death

I was born on September 11, 2001.  My grandfather says it was a Tuesday.  I live with my grandparents now.  They tell me that I came out of my mommy’s tummy early.  My dad worked at a place called The World Trade Center in New York City – when he was at work that day some men flew planes into the building.  There was fire and a lot of smoke before it dropped to the ground.  My daddy died that day.  When my mom heard about it, she got very nervous, and her tummy started to hurt a lot.  I was supposed to come out on November 4 – her birthday – but she had to go to the hospital early, and I came.  I was born the day my daddy died.

My mommy became a soldier.  She told me that she loves me a lot and she had to go protect people who could not protect themselves.  My mommy told me that freedom was not free, and that was why she carried a gun.  She told me to always be kind even if someone was mean.  That was when I went to live with grandma and grandpa.  Grandma makes nice cakes.  She says that sometimes when you are baking a cake, you may have to break eggs or you may spill flour but to think about finishing the cake.  I’m not sure what that means.

One day, when I was playing in the yard, a black car stopped in front of our house.  Two men in fancy army uniforms came out of the car and looked at me.  One of them smiled at me – but it looked like the smile was hurting his face – the other man looked away quickly.  They walked up to the door just as my grandfather opened the front door.  The two soldiers (one of them had a cross on his funny looking army hat) talked to pop-pop and I saw him lean against the door-frame.  When they were walking back to their car, one of them touched my head.  Pop-pop told me to come inside.  I went into the house and saw mama crying.  My grandfather put me to sit on his knee.  He asked me if I remembered when my fish died.  I told him yes.  He was quiet as grandma sobbed in her chair.  I was confused.  He kissed my forehead and held my face.  When I looked into his eyes, I was a little scared.  “You mom isn’t coming home,” he said.  My mother had died.  Some bad men had used a bomb to blow up her truck.  That day, I learned the word orphan.

My mom died in January.  In February – that’s the month after January – we learned about Dr. Martin Luther King Jr.  It was Black History Month.  People did a lot of bad things to black people, but still Dr. King was not mean.  Sometimes they would spray water of them with big hoses or set dogs on them.  They started fires on their front lawns; they burned their churches and houses; they put ropes around their necks until they were dead.  Even after all this, some of the black people were still not mean.  We had to do a play in school, we all played different people.  I played Dr. King and said, “Returning hate for hate multiplies hate, adding deeper darkness to a night already devoid of stars.  Darkness cannot drive out darkness, only light can do that.  Hate cannot drive out hate, only love can do that.”  I’m not sure what that means.

Yesterday, I think I did a bad thing.  I should have been in bed, but I was sitting at the top of the stairs watching TV.  They stopped the show pop-pop was watching and I saw him sit forward and call mamma.  I remember what was written of the screen.  “Osama bin Laden killed!”  I remember the name because one time when we were watching TV we saw his picture and my grandfather told me that he – Osama bin Laden – was the reason I was an orphan.  I was very angry and very sad.  When I heard that my mommy’s friends had killed him, I was sad for him.  Even though I wondered if he had children or a family, many people were dancing in the streets.  It looked like everyone was having a party because a man was dead.  I know he killed a lot of people, but it seemed wrong.

Then I felt guilty.  Now I am just confused.  I think I have a good memory, I remember what I learned:

“Returning hate for hate multiplies hate, adding deeper darkness to a night already devoid of stars.  Darkness cannot drive out darkness, only light can do that.  Hate cannot drive out hate, only love can do that.”  

It doesn’t matter anyway.  I know he did bad things, but I choose not to be like him – I choose not to do bad things.  I choose not to hate.

~ ~ Full text and audio of President Barack Obama announcement : Osama bin Laden is dead.

United States President, Barack Obama:

Good evening. Tonight I can report to the American people and to the world that the United States has conducted an operation that killed Osama bin Laden, the leader of al Qaeda, and a terrorist who is responsible for the murder of thousands of innocent men, women and children.

It was nearly 10 years ago that a bright September day was darkened by the worst attack on the American people in our history. The images of 9/11 are seared into our national memory. Hijacked planes cutting through a cloudless September sky, the Twin Towers collapsing to the ground, black smoke billowing up from the Pentagon, the wreckage of Flight 93 in Shanksville,Pennsylvania, where the actions of heroic citizens saved even more heartbreak and destruction.

And yet, we know that the worst images are those that were unseen to the world, the empty seat at the dinner table, children who were forced to grow up without their mother or their father, parents who would never know the feeling of their child's embrace. Nearly 3,000 citizens taken from us, leaving a gaping hole in our hearts.

On September 11th, 2001 in our time of grief, the American people came together. We offered our neighbors a hand, and we offered the wounded our blood. We reaffirmed our ties to each other, and our love of community and country. On that day, no matter where we came from, what god we prayed to, or what race or ethnicity we were, we were united as one American family. We were also united in our resolve to protect our nation and to bring those who committed this vicious attack to justice. We quickly learned that the 9/11 attacks were carried out by al Qaeda, an organization headed by Osama bin Laden, which had openly declared war on the United States and was committed to killing innocence in our country and around the globe.  And so we went to war against al Qaeda, to protect our citizens, our friends and our allies.

Over the last 10 years, thanks to the tireless and heroic work of our military and our counterterrorism professionals, we've made great strides in that effort. We've disrupted terrorist attacks and strengthened our homeland defense. In Afghanistan, we removed the Taliban government which had given bin Laden and al Qaeda safe haven and support. And around the globe, we've worked with our friends and allies to capture or kill scores of al Qaeda terrorists, including several who were a part of the 9/11 plot.

Yet, Osama bin Laden avoided capture and escaped across the Afghan border into Pakistan. Meanwhile, al Qaeda continued to operate from along that border and operate through its affiliates across the world. And so shortly after taking office, I directed Leon Panetta, the director of the CIA, to make the killing or capture of bin Laden the top priority of our war against al Qaeda, even as we continued our broader efforts to disrupt, dismantle and defeat his network.

Then last August, after years of painstaking work by our intelligence community, I was briefed on a possible lead to bin Laden. It was far from certain, and it took many months to run this thread to ground. I met repeatedly with my national security team as we developed more information about the possibility that we had located bin Laden hiding within a compound deep inside Pakistan. And finally last week, I determined that we had enough intelligence to take action, and authorized an operation to get Osama bin Laden and bring him to justice.

Today, at my direction, the United States launched a targeted operation against that compound in Abbottabad, Pakistan. A small team of Americans carried out the operation with extraordinary courage and capability. No Americans were harmed. They took care to avoid civilian casualties. After a firefight, they killed Osama bin Laden and took custody of his body.

For over two decades, bin Laden has been al Qaeda's leader and symbol and has continued to plot attacks against our country and our friends and allies. The death of bin Laden marks the most significant achievement to date in our nation's effort to defeat al Qaeda. Yet his death does not mark the end of our effort. There's no doubt that al Qaeda will continue to pursue attacks against us. We must and we will remain vigilant at home and abroad. As we do, we must also reaffirm that the United States is not and never will be at war with Islam. I've made clear, just as President Bush did shortly after 9/11, that our war is not against Islam, because bin Laden was not a Muslim leader. He was a mass murderer of Muslims. Indeed, al Qaeda has slaughtered scores of Muslims in many countries, including our own. So his demise should be welcomed by all who believe in peace and human dignity.

Over the years, I have repeatedly made clear that we would take action within Pakistan if we knew where bin Laden was.  That is what we've done. But it's important to note that our counterterrorism cooperation with Pakistan helped lead us to bin Laden and the compound where he was hiding. Indeed, bin Laden had declared war against Pakistan as well and ordered attacks against the Pakistani people.  Tonight, I called President Zardari, and my team has also spoken with their Pakistani counterparts.  They agree that this is a good and historic day for both of our nations. And going forward, it is essential that Pakistan continue to join us in the fight against al Qaeda and its affiliates.

The American people did not choose this fight. It came to our shores and started with the senseless slaughter of our citizens.  After nearly 10 years of service, struggle and sacrifice, we know well the costs of war.  These efforts weigh on me every time I, as commander-in-chief, have to sign a letter to a family that has lost a loved one, or look into the eyes of a service member who's been gravely wounded.  So Americans understand the costs of war. Yet, as a country, we will never tolerate our security being threatened, nor stand idly by when our people have been killed. We will be relentless in defence of our citizens and our friends and allies. We will be true to the values that make us who we are.  And on nights like this one, we can say to those families who have lost loved ones to al Qaeda's terror: Justice has been done.

Tonight we give thanks to the countless intelligence and counterterrorism professionals who have worked tirelessly to achieve this outcome. The American people do not see their work or know their names, but tonight they feel the satisfaction of their work and the result of their pursuit of justice.  We give thanks for the men who carried out this operation, for they exemplify the professionalism, patriotism and unparalleled courage of those who serve our country. And they're a part of the generation that has borne the heaviest share of the burden since that September day.

Finally, let me say to the families who lost loved ones on 9/11 that we have never forgotten your loss, nor wavered in our commitment to see that we do whatever it takes to prevent another attack on our shores.

And tonight, let us think back to the sense of unity that prevailed on 9/11. I know that it has, at times, frayed. Yet today's achievement is a testament to the greatness of our country and the determination of the American people. The cause of securing our country is not complete, but tonight we are once again reminded that America can do whatever we set our mind to. That is the story of our history, whether it's the pursuit of prosperity for our people, or the struggle for equality for all our citizens, our commitment to stand up for our values abroad, and our sacrifices to make the world a safer place.

Let us remember that we can do these things, not just because of wealth or power, but because of who we are: One nation, under God, indivisible, with liberty and justice for all.

Thank you.  May God bless you, and may God bless the United States of America.

i think i can ~ Theatrical Review

Toronto is a city infused with art, culture and tolerance.  

This  mixture  is  currently  evident  on  the  main  stage  of  the Lorraine Kimsa Theatre for Young People, (LKTYP) with its most recent production.    Lovers  of    theatre  in  general  and  young  people’s  theatre  in  particular,  will  be  pleased  to  know  that  the  Dora  award-winning show for Outstanding New Musical, i think i can is back at the LKTYP!

Artistic Director of the LKTYP, Allen MacInnis, is excited to bring the play to life once more, in an effort to both entertain and educate theatregoers young and mature.  Geared to audiences as young as 8 years old, i think i can is the brainchild of award-winning playwright, Florence Gibson who co-created the play with renowned tap-dancer Shawn Byfield.  Under the choreography of Byfield and direction of Conrad Alexandrowicz, nine players employ thirteen characters to tell a riveting story using mainly tap dancing.

The  cast  does  an  impressive  job  of  communicating throughout the  entire  play  with  very  minimum  verbal  communication.  Set in the chaotic, often confusing world of classroom cliques,  i think i can manipulates light, sound, multi-media and non-verbal intonations to weave a story against the canvas of sizzling urban tap. Complete with an effervescent cheerleader, the story includes that of the proverbial schoolyard bully who is more than he seems.  There are invaluable lessons learned as we explore the psyche and intelligence of this misunderstood young man and those around him.  We are introduced to a shy boy with a disability – Tip, played by Tosh Sutherland – who overcomes several obstacles to become something greater than he imagined.  Cast members reveal that each tap of the shoe has a word association.  One of Tip’s key movements (the distinct sound of his tap shoes against the floor) represent the phrase, i think i can.

Passion and professionalism shine through as all involved in this grand endeavour tell a tale of forgiveness and cooperation to overcome various challenges.  With science, social studies and dance as student connecting points, teachers will appreciate an innovative learning medium.  Parents will be pleased to see respect and empathy build into teamwork, creating a mutually desired outcome.  It is clear that the LKTYP has a distinct agenda to educate.  More than enjoying exemplary entertainment by a talented cast, children and adults alike will leave the theatre a little more knowledgeable than when they entered.  Invariably, the children / cast and audience learn the true meaning of E=mc².

What is most amazing about this production is the use of science, coupled with traditional and contemporary art forms to create an exciting atmosphere, that explore themes instrumental in childhood development and adult growth.  Using that unique language that will transport you through myriad emotions, i think i can taps across the main stage of LKTYP until May 5 2011 before touring to the National Arts Centre in Ottawa.  With tickets at only $10 or $20, this play is an excellent value that is a must see.

For more information about the Lorraine Kimsa Theatre for Young People and i think i can, visit:  http://www.lktyp.ca/en/current/ithinkican.cfm

Spirit Of The Dance – A Theatrical Review of:

“Three Boyz, Three Countries, One Dream

King Ah De Dancehall”

It is an ambitious organization that attempts to produce a new genre of art as it emerges from the cocoon of creative consciousness. With Vivine Scarlett as Program Director, “dance Immersion” does just that in its 2011 annual showcase. Scripted by Joseph Jomo Pierre, “Three Boyz, Three Countries, One Dream (a.k.a. King Ah De Dancehall)” shares a message of hope and determination, delivered through spoken-word and dance, under the direction of Dian Marie Bridge. This intricate tale of a single, shared dream travelling through history to its inevitable birth on the stage is brought to life by the choreography of Trevor Brown, Kevin A. Ormsby, Kay-Ann Ward and the Baby Boyz Dance Group.

Told in two acts, the story begins appropriately in Western Africa with Dr. Afua Cooper as the griot (a role continued throughout the play) where she introduces us to the genesis of the dancehall. Deep in the forest of Ghana, a hunter learns a ritual dance, realizes his purpose and teaches this dance to the young people in an attempt to preserve tradition so that the spirit of the dance will never die.

The streets of Jamaica then appear on stage, complete with huge speakers for the street dance. There is an accurate portrayal of violent political rivalry between the country’s two leading parties (Peoples National Party and Jamaica Labour Party) showing “PNP” and “JLP” emblazoned across makeshift banners of red and green. Warring factions dressed in party colours (red for PNP, green for JLP) create the backdrop for new birth, as a woman (Ms. Brown) delivers a child with her back against speakers and dancehall music blaring around her. The father of that child is named Secret Weapon. His name is perhaps an allegory for the potential of dance, an individual, a nation and a people.

Dancehall king Secret Weapon’s son, Stripes, grows up in the dancehall alongside his parents, only to see his father gunned down in front of him. It is with crystal clarity, that this scene first shows the fierce often volatile side of the dancehall. As he matures, Stripes is fuelled by the memory of his father and the call of the dancehall. He uses dance as a quest for his own identity, and he finds it. Quickly becoming the new “King Ah De Dancehall”, Stripe travels across Jamaica with the DJ Fatta and his sound system “Kirkland Sound” while struggling with the everyday nuisance of putting food on his family’s table. An attempted continuation of the cycle of violence is thwarted by Fatta, when Stripe is briefly targeted by a local Don to whom he owes money. As Stripe gains popularity in his own country and across the world through dancehall videos, he realizes that he might have the opportunity to use dance and the dancehall as a vehicle to extricate his family from poverty.

Learning of the possibility of travelling to Japan, Stripe rushes home to share the news with his mother. Their elation is cut short by the sound of gunshots. She is dead. Tradition revisits the stage with a Jamaican “Nine-Night”, complete with Kumina dance by white robed and African fabric clad dancers. In this ceremony for the dead, there is a marriage of cultures, a weaving of the dance and the creation of a lifestyle. Here we see that Kumina is indeed the mother of dancehall.

Having witnessed both parents murdered, an orphaned Stripes is dejected. He turns to alcohol to soothe his pain before he is visited and encouraged by Fatta. Though he feels as if there is no reason to go on, the thought of dance is still with him. “If the dance can’t make you feel good, it is the wrong dance.” Stripes remembers the words of his father, Secret Weapon, “never let the spirit of the dance die.” He triumphs over pain and his circumstances to slowly begin again to dance.

Germination of a vision is both complete and begins, as the dance travels to a cold Canada where we meet an equally depressed young Ghanaian dancer. He is encouraged by a fellow dance student, who reminds him of his dream to open a dance school in his native Ghana. The two share a video of Stripes, which serves to put the Ghanaian back on the path of dance and realizing the dream of his ancestors – Never let the spirit of the dance die. Both young men continue to strive to emulate Stripes, with the help of Tasha, herself a hopeful dancehall queen.

The competition has come – King Ah De Dancehall! Kirkland Sound and Fatta have brought Stripes to Canada where he will crown the new king. An extremely talented group of young people showcase complex dance routines as they vie for the coveted title of Dancehall King / Queen. By far the most memorable person in this scene is Tasha. She captures the raw sexual energy of the Jamaican dancehall queen. Her moves are crisp and authentic. Tasha’s man attempts to bring violence to the dancehall when she gets too close to her dance partner, but is quickly thwarted by the dance.

The coup de grâce is deftly delivered as Stripes introduces the dance group. Baby Boyz treats the audience to a precise, impeccably choreographed routine. While those who have seen this group perform have come to expect only excellence, it is always a refreshing experience to be gladly reminded of their tremendous talent. Their performance, incorporated with the gyrations of “Tasha”, elicited screams of glee from an appreciative audience.

The show ended to thunderous applause. After a moment to catch their breath, the gracious cast facilitated an open “talk back” session where we catch a glimpse into their personalities. We learn that this dance, this passion they all share, “comes from an ancient time and an ancient place.” It is seen not only as professional development, but also for personal experience. To learn the dance story, the African story. Tasha (played by Kay-Ann Ward) sums it up perfectly: “It is more than just the moves – it’s a lifestyle.”

All involved in this project have combined their collective talents to tell a story where spoken-word incorporated with dance creates high art.

I Marcus Garvey – A Theatrical Review

The Year for the people of African descent continues to generate great works of cultural significance. The city of Toronto is intimately familiar with art in general and with theatre in particular. The love affair reaches new heights, as Theatre Archipelago in association with “b current”, beautifully interprets the story of Marcus Garvey the man, as written by Edgar Nkosi White in, ‘I Marcus Garvey’. Under the experienced collective eye of director Rhoma Spencer and producer ahdri zhina mandiela the performance promises unsurpassed quality from the first notes on stage.

The true purpose of theatre is to entertain, provoke and educate – This play delivers!

‘I Marcus Garvey’ spans Garvey’s 1912 arrival in London, through his years in The United States, Jamaica and Canada before returning full circle to London in 1938. This powerful story is told through music, multimedia and six actors portraying sixteen characters. The sparse stage is decorated with stark white sails (representing Garvey’s Black Star Line) that also serve as the backdrop for various images throughout the play.

It is evident, that the entire crew was passionate about this production. The music, the lighting, the sound effects, the multimedia created scenes, the seamless transition from one scene to the next, produced an effortless quality that transformed the stage time and time again across 25 years and 5 countries.

The story is beautifully written. The playwright captures not merely the political Marcus Garvey that wanted to free a people from mental slavery; he captures the spirit of a personal Garvey. We see struggles, we see hard decisions made, we see tears and we see laughter. An entire emotional gamut permeates all three acts of this wonderful work of pure art. If you are shy about laughing out loud or being close to tears, even perhaps weeping in public, do not go to see this play.

The cast delivered excellent performances each in their own right. It is a testament to their personal professionalism and the vision of the play’s director.

Richard Stewart plays Marcus Garvey:

Act 1 Scene 1 shows Garvey arriving in London and shivering from the English weather. In the second row, I trembled when I saw him. Richard Stewart brings Marcus Garvey to life. Mr. Stewart’s oratory deliveries are flawless. The prose and poetry of Garvey becomes his own. When he speaks, you listen – You listen as if it were Garvey himself.

Quancetia Hamilton plays Indiana (Garvey’s sister) and Auntie (to Garvey’s second wife):

Ms. Hamilton is a powerful actress who throws herself into her craft. When Indiana talks about what she wants for herself, you feel her longing; when she laughs, her elation reverberates inside you. When Indiana tells her brother he can no longer live with her, you see the tears in Quancetia’s eyes.

Beryl Bain plays Amy Jacques – Garvey (Garvey’s second wife):

We first see Amy Jacques (before she is married) in Jamaica with her auntie. When she sees Garvey, her eyes light up. Ms. Bain passes that light on to us throughout her performance. Beryl Bain becomes the embodiment of a strong, loving, Amy Jacques Garvey.

Muoi Nene plays Wallace and West Indian Archie:

Wallace, the drunken British man of Indiana, first elicits laughter, then pity. Muoi Nene is spot on! West Indian Archie is eager for something new in Harlem, and finds it in Garvey. It is the commanding monologue from an Antiguan anticipating Garvey’s arrival on the island that puts Mr. Nene over the top.

Azeem Nathoo plays Hamil (A London shopkeeper) and Minister of Information (for Jamaica):

Mr. Nathoo is more than convincing in both his roles. In London, I almost expect Hamil to bring out a package of salt-fish. In Jamaica, the Minister of Information is instantly viewed with suspicion. Azeem Nathoo is admirable in interpreting these two characters.

Jack Grinhaus plays Jenkins, Attorney, Prison Warden, and FBI Agent:

The importance of these characters to the plot is invaluable. The ease with which Mr. Grinhaus transformed from one to the next was extraordinary. His linguistic mastery and professionalism was elegantly evident.

These talented players seized my attention and did not let go until the end of their long standing ovation. Their passion spilled over into our seats and we fed lovingly. This is a play well worth seeing.

You will laugh, you may weep, you will be provoked, you will learn.

‘I Marcus Garvey’ plays at the Papermill Theatre until March 27th, 2011.