Studio 180’s acclaimed production of Larry Kramer’s The Normal Heart opened in Toronto yesterday and runs until  November 18. It was a must see when it played here last year and it remains a must see today.  Same director, almost the same cast and production team, this is compelling theatre all the way. It deserved the numerous accolades it received last time around, appearing on the top ten lists of most critics in town.  It's also an audience favourite, it seems. The instant and prolonged standing ovation from the opening night crowd this time around couldn’t have been more genuine or more deserved.

Last time I reviewed this production I scarcely touched on the politics of the piece. This time I wanted to talk about why the show, the action of which takes place in New York City in the early days of the AIDS crisis, specifically 1981-1984, is relevant today.  Not that one really needs to argue this point – we don’t criticize Shakespearean drama  because it was written four hundred years ago, but it seems to be thing to place the relevance of The Normal Heart under a microscope every time it's revived, despite it’s inherent cultural significance.

I'm not sure why. This is history, after all - and OUR history at that -  a  detailed account of the struggles, personal and professional, of a handful of men (and one woman) who alone tried to get the world to notice the beginnings of a plague in its midst.  Playwright Larry Kramer  (I interviewed him here) was there leading the charge, as personified by the dreadfully strident character Ned Weeks, played miraculously here by the returning  Jonathan Wilson.  So it’s a view of the period from the epicentre of the storm, not without its biases (Kramer was an opinionated man and remains so today), but the arguments of the day which drive the  plot are fascinating and I'd suggest, still very relevant today.

Central; to the drama is the play between Ned/Kramer’s desire to “stop gay men having sex” as the only way to end the war, and the other side’s desire to hang on to the hard won sexual freedoms earned in the decade that went before it. This struggle is never really resolved here, although Ned/Kramer is kicked out of the gay men’s health organization he founded as a result of his views and his stridency, speaking to the emergence of sex-positivity over celibacy as a cornerstone of our response to HIV  prevention today. The debate  echoed through the Toronto gay community at about the same time too. It’s fascinating, though, to see where this came from.

Also relevant to our decade, particularly to those familiar with the ways of the modern-day HIV movement, is the struggle portrayed here between the stridency of activism at full volume, which again Ned/Kramer  exhibits (the “maximum annoyance” model) and the more cooperative (“let’s work with the establishment, nicely”)  method of the rest of the cast, which came to be the norm, at least here in Ontario.

I think too the play has especially deep layers of meaning for people themselves living with HIV today. It is a profoundly moving piece for any to watch but those of us living with HIV, even long term survivors, must surely be thinking “there but for the grace of god . .”  Because times were horrible for people with HIV then, and the play demonstrates this quite graphically. Those newly infected, of course, must be made aware of our history too.

If I have criticism of the play’s tone - I can tolerate Kramer’s take on life even if I don’t agree with it - it’s the blunt-like force with which he makes his points. One could argue that it’s preachy, heavy-handed and rant-filled.  But those very factors also make for powerful theatre, while giving his characters a chance to shine. Every character but one loses his/her cool spectacularly, with emotions turned up to eleven.

The production is again delivered in the round, which gives the drama an immediacy some may find almost too hard to take. The second act in particular is intensely emotional, almost draining to watch and leaves audience members crying.  The super-charged cast that takes us on this ride is stellar.  I hate to single out anyone.  But  I’ve already mentioned Jonathan Wilson in the pivotal role of Ned, so I’ll again give extra kudos to John Bourgeois as Ned’s lawyer brother Ben and the always stellar Ryan Kelly as Mickey Marcus who blows up admirably in act two. Direction, as before, is in the hands of the masterly Joel Greenberg.

The play ends with the stage littered with debris, symbolic of the all-out war (on the epidemic, on each other, on our psyche) we’ve seen enacted in front of us, While your emotions by then will be in  tatters, don’t let that stop you one minute from seeing this show.  Because that’s what good theatre, spectacularly done, does to you.  It’s total immersion of the mind, heart  and spirit.  Go see it! 

******************

Buddies in Bad Times Theatre proudly welcomes

a Studio 180 Theatre production

THE NORMAL HEART

 by Larry Kramer

 directed by Joel Greenberg

 starring John Bourgeois, Mark Crawford, Martin Happer, Ryan Kelly, Mark McGrinder, Jeff Miller, Sarah Orenstein, Jonathan Seinen and Jonathan Wilson

Buddies in Bad Times Theatre, 12 Alexander Street, Toronto

Box Office 416 872 1212

 Tickets $30-$45 | Student + Arts Worker tickets are $25 for every show | Limited PWYC available for Sunday matinees

Obaaberima: a derogatory term meaning girlyboy or girl boy.

There is theatrical magic on stage in Buddies in Bad Times Theatre's latest offering that opened the season last night.  It’s called Obaaberima, a one man show written and acted by newcomer Tawiah M’carthy. He’s one to watch.

The story is simple but rich.  We are in a Canadian prison cell where a Ghanaian immigrant is at the end of a three year term.  He is about to be released but before that happens he has a story to tell us, his fellow prisoners. It a story told in African traditional ways of his growing and complicated sexuality while in Ghana and later here.

As a boy he was attracted to femininity, to wearing dresses and heels. On moving to Canada he became involved with the church, then with a woman, who wants to marry him, then boys, then the down low meet-up scene, then a steady relationship which ends badly, then a violent incident which leads him to the cell we are in. But really, it becomes clear, the whole story is about cells we inhabit, dwell in and move on. Sexuality is always a moving object.

How much of this is autobiographical is not clear but Tawiah tells this story of twisting and conflicted sexuality with conviction and the utmost confidence. He looks the audience literally in the eye and owns it.

It is an intimate experience to share this story with him, full of nuance and detail. Tawiah is an accomplished young actor, switching multiple characters quickly and effortlessly, playing two sides of a conversation like a musical instrument. It’s most fin with his boyfriend, who is white and straight and can’t dance.  It’s also fun to see him toy with his feminine side which bubbles throughout the play -  he wears his orange prison uniform in a  decidedly unorthodox way – and then turns quickly butch on us. He is very, very good at this and watching his already tightly honed acting skills up close is one of the main attractions of this story-telling piece.

Although it's a one man show, there is a lot going on here. We have the spoken word, we have dance and movement, we have an original African score from on stage musician Kobena  Aquaa-Harrson that’s simply astonishing. It’s a nice looking production too.  The prison set is effective,  lit imaginatively lit throughout by Michelle Ramsay to suggest multiple locations.  Very clever work, this. And Evalyn Parr directs as usual with a very steady hand to draw the best out of her young star.

While Obaaberima strikes me as hugely important for the immigrant queer community to see and identify with - hell, even I identified with it – this is a show with wide appeal.  I hope it does well. Go see it.

Buddies in Bad Times Theatre presents

OBAABERIMA

created and performed by Tawiah M’carthy

directed by Evalyn Parry

live music by Kobena Aquaa-Harrison

set and costumes by Camellia Koo

lighting by Michelle Ramsay

Previews September 15,16, 18 & 19 | Opening Night September 20 | Closes October 7

Runs Tues-Sat 8pm, Sun 2:30pm

Tickets PWYC - $37

Box Office 416-975-9130 or buddiesinbadtimes.com

Buddies in Bad Times Theatre, 12 Alexander Street, Toronto ON

MAC Viva Glam Fashion Cares 25 went down on Sunday night at the Toronto’s Sony Centre for Performing Arts. The event was dubbed “A Night of Glitter & Light”- A benefit for the AIDS Committee of Toronto (ACT) and the Elton John AIDS Foundation (EJAF). The end of an era. I had the distinct pleasure of attending this historic event and let me just say, it was astounding! 

The evening began at 5:30 p.m. VIP patrons were granted early entry to the event. As my guest and I arrived at the venue, we noticed that a part of Front Street East had been closed off and we spotted a huge media tent with everyone from CP24 to E! News. As if we we’re already feeling like stars, the entrance sealed the deal. We were greeted by two men in suits and ear pieces who directed us walk along the black carpet to the door way. Yes- it was that kind of event. Right before we got to the end of the carpet, there was a MAC Viva Glam back drop and a photographer snapping pictures - needless to say we struck our best poses and walked the remainder of the carpet with a renewed sense of style- red (or black in this case) carpet style! 

Inside the venue we were greeted by very friendly and well informed volunteers. After we gave our tickets, we were presented with badges that said “VIP Patron”. This can’t be good for the ego I thought! Although it was only somewhere between 5:45 and 6 p.m. the centre was already buzzing with guests who were dressed to the nines in the latest fashions and live models displaying the themes and designs of the last 25 years of Fashion Cares. 

Complimentary bars were spread widely across the venue so there was no major wait for drinks and the servers were on their toes serving up some very delicious hors d'oeuvres. As someone who is new to Canada with very little knowledge of the history of this event, the retrospective exhibit was both informative and entertaining. The models were fierce yet friendly; willing to pose for pictures with you and next to each display there was a plaque with the original posters as well as the year and some information about the theme. Another highlight of the pre-show cocktail reception was the display of costumes from Elton John's personal collection. They were unique and mesmeric. 

The live show was scheduled to start at 8 however we were not allowed to be seated till around 8:15 or so and the show started around 8:30 p.m. approximately. I was too caught up with all the glitz and glam to care. Seating was easy and comfortable and we had a great view of the stage. 

The show kicked off with a riveting display of fashion by designers such as Greta Constantine and Moschino. The show was hosted by Canadian designers Dean & Dan Caten/DSquared2 who contributed designs for Fashion Cares at the very first show in 1987- as well as Co-Chairs Michael King and David Furnish. The stage was also graced by legendary Canadian international supermodel Linda Evangelista,  Canadian TV personality Jeanne Beker, ACT’s Executive Director Hazelle Palmer and Executive Director of the M·A·C AIDS Fund Nancy Mahon to name a few. 

The stage also housed performances from a long list of artists. Canada was well represented with acts such as Molly Johnson, Jully Black, Jarvis Church, Chantal Kreviazuk, Billie Newton Davis, Matt Dusk, Divine Brown and Kreesha Turner- all of whom performed a beautiful melody of hits backed by the Fashion Cares Orchestra. International acts included Sky Ferreira, chart topping pop group the Scissor Sisters who gave the crowd something to dance/vogue to with hits like this summer’s “Let’s have a Kiki” and Grammy nominated Janelle Monae who in my opinion rocked the house with her soulful and upbeat repertoire - complete with back up dancers. 

Last but certainly not least, David Furnish introduced us to the main act of the night- the headliner. His husband, the one and only, Sir Elton John. Immediately the crowd was at their feet, the curtains went up and Sir Elton John walked onto the stage in a blue ensemble with glittery sleeves. Yes. Despite the rumours of him possibly being a no-show due to the last minute cancellation of his show in Peterborough the previous night, he was there in all his flamboyant glory. 

As he took a seat at his black Yamaha piano, he took the opportunity to say a few words. He informed us the he was scheduled to do a concert in Peterborough the previous night but due to the fact that he had lost his voice, he had to cancel the show. He said that thanks to the wonderful doctors in Toronto he is able to give a performance. I actually heard hints of hoarseness in his voice as he spoke. But as soon as he started striking those keys and singing hits like Rocket Man, Tiny Dancer and I’m Still Standing to name a few (breaking after each song  to wet his throat) the crowd was as mesmerized as ever and he sounded better than the recordings. 

The night ended with Sir Elton performing one more time with all of the acts of the night (with Jake of the Scissor Sisters jumping onto the piano to dance). It was a magical night. It was very well organized in my opinion. Kudos to the AIDS Committee of Toronto (ACT), the Elton John AIDS Foundation (EJAF) and MAC Viva Glam for throwing the most talked about Fall event (apart from the Toronto Film Festival-TIFF) and supporting a good cause - the HIV/AIDS community.

There is a certain irony in that I left the world of HIV to go into comedy, and yet I’m starting to talk about it in my stand-up.

This is no easy feat for a novice comedian. Folks it’s only been since January. I can’t seem to get away from this hacky pun, but I have been dying to do it for a long time.

It takes time to work up the guts to do very personal comedy; especially when tackling the topic of HIV. It’s so original that people are blown away by anyone who can go on a stage and talk about this kind of stuff.

It's like going to my friend’s dark show called Shock Therapy where subjects of early childhood sexual abuse and other fun subjects were tackled.

It’s a bit of a conflict for me. I don’t want to be known as the “AIDS” guy. But on the other hand, it makes up an important part of my life. I feel if I ignore it, then I’m not being true to myself.

Initially I was more worried about the other comics and what they would think of me.

A week ago I finally got up at a venue called Giggles on Groove and did my set about being positive.

There were a lot of comics that night. My plan was to have more time so I could ease into it a bit. Instead, due to the amount of people going up, my time was shortened to five minutes.

The approach I took worked well for this one night. I explained that I had worked on some new dark stuff, and I wasn’t sure if it fitted the bill, but they can be the judge.

So . . I stopped speaking, looked at the audience from one end to the other, and proclaim to my unsuspecting subjects: “The worst thing about being HIV positive is that I’m never quite sure when I’m having my mid-life crisis………..it could be now. Oh who am I kidding, I’m 47. The mid part of the life-crisis has long passed by.”

After I finished, I had one comic say, “Wow, you just woke up the room with that.” Another comic who I love (and is so dark) was standing clapping as I came down. “I stood up just so I could give you a standing ovation” he said.

The feeling was of respect, support and a lot of encouragement. Another comic was very complementary and wanted to hear more. “We need to talk about these subjects, and you can do it.”

Since I have a big gig coming up tonight (July 25) with Scott Thompson hosting, I wanted to practice a bit more and went out to a venue in Mississauga. I tried the orginal way of just hitting people over the heads with it. However open mics that are just comics (and in Mississauga) sometimes don’t work as well.

As I was doing it, I realized that I hit them too hard too soon. They didn’t feel like they had the permission to laugh. I got great notes (feedback by other comics) on how to broach this topic. This is definitely not beginner comic material. This takes a lot of reading of the room, and the ability to be able to bring it back.

Getting near to the end of my set I realized and said out loud, “Ok it’s easy enough to get into this HIV stuff, but how the hell do you get out of it.”

Some of my observations are that I need more time to get into a heavier topic and that I need to explicitly give permission and a bit of context to the stand-up.

My fellow positive friends don’t find my humour that crazy, but to civilians, they don’t know what to do with it. Isn’t HIV supposed to be all about stigma and discrimination? How is it that we are seeing someone right in front of us bring out the taboo and lay it out for all to see?

I do like the expression one comic uses, “personally uncomfortable” Should comedy be easy laughs or should we go into the personal and work our shit out in a comedic way. I go for Door #2.

As for tonight, I’ve yet to make up my mind on whether or not I’m going to go there.

This Saturday night though, I have a full ten minutes at a friend’s show, where she wants me to do my “ballsy” stuff. I’ll have an opportunity to workshop it some more. 

Note to readers: For our interview with Daniel Bauer, follow the “related articles” link at the end of this story

I had extremely low expectations sitting in the darkened theatre at New York City’s Cap 21 waiting to see Daniel Bauer’s Beyond Belief. While there may be a few great tricks that leave you pondering for days, I find that the majority of magic shows leave me feeling a little empty.  As soon as the lights came up and Daniel sat on a wooden stool and he addressed the audience, I knew I was wrong and was in for something thrilling. 

It is hard for me to call this a magic show. Don’t get me wrong, there was magic and it was fun, funny and sometimes confounding. But this show was so much more than that. It was Daniel’s personal journey from childhood to Houdini’s successor, from testing positive for HIV and drug addiction and losing it all to where he finds himself today. He cleverly intersperses magic tricks to aid him in his story telling and that helps to lighten the mood during the darker parts of the evening.   

I found myself completely enthralled by the stories he wove. So much so that before I knew it, I was shedding tears, laughing out loud and amazed by his acts of magic and escape. 

It was a truly fascinating and heartbreaking performance. Daniel’s message is one of strength, courage, hope and most importantly an inspiring struggle to keep chasing your dreams, no matter what stands in your way or knocks you down. 

Daniel Bauer is as charismatic as he is handsome and as funny as he is moving – and all this while he conjures up a magically unforgettable and emotionally charged evening. 

For more details check here. 

Follow Daniel on twitter @LvngPozitively