Answering Don D'Haene about my opinion and conscience

In my review of The Drowsy Chaperone, I expressed my reservations about Don D'Haene's performance and received personal comments on Saturday from him against me that I consider a bunch of deceptive condescension. I've waited this long to respond to enable myself a proper response to have some self-respect.

When I saw his performance, I was not "squirming" at simply seeing a gay character, I was concerned at seeing an actor playing a character as a caricature of a minority group in the play, which in this case happens to be gay.  This is not the same as other caricatured characters in the play like Aldolfo, a Latin lover who chooses to be that way. Last time I checked, majority scientific opinion about sexual orientation is that it is not something you choose any more than being left handed. Furthermore, there is nothing in D'Haene's role demands that anything specific about any minority group about it at all; he's just a guy who enjoys musical theatre who could be a Rwandan Tutsi Albino for all the real relevance to the plot.

In short, the sole problem I had was a person playing a stereotype of a minority group. As for his claim about the play honoring the classic era of musical theatre, this was a part of musical theatre of that time too:

Now, if The Drowsy Chaperone is celebrating the traditions of 1920s musical theatre, why wasn't there a tribute to this one in the play?  If you give the obvious answer about that kind of getup, that many African-American entertainers were forced to use themselves on stage for decades, why is it then considered fair game to caricature another minority on stage, and differ only by degree?

As for supposedly calling D'Haene out for playing "Too Gay," that is as irrelevant as calling Lincoln Perry, who played the quintessential racist comic movie caricature, Stepin Fetchit, "Too Black."  Just because the player happens to be of that minority does not make those depictions any less wrong. All that concerned me is that both played a stereotypically broad caricature of a minority, albeit to different degrees.

Whether you want to consider me uptight, politically correct or some other epitaph, I don't really care, especially from someone who calls me "My favourite critic" and yet has shut me out of paid review assignments as the online theatre editor of The Beat for more than a year for whatever reason I am past wanting to know about.

I tried to give an honest opinion with a flash of social conscience and if smug sneering is what I get, then I guess that's a due that I have to pay.

Power of Work review

For something to do on a Thursday night, I went and saw the stage production being at Goodwill's London headquarters at 255 Horton St, Power of Work… y’know what I mean? 

Since this is an amateur charity production and I already wrote a review for the professional play at the Grand Theatre's McManus Studio, The Last 15 Seconds, for Theatre In London this week, I'll confine myself to a few thoughts here.


This play is essentially something of a self-promotion about the non-profit community assistance organization as the ghost of its founder, Reverend Edgar J. Helms, comes to visit the London branch to see how his creation is doing. In doing so, Helms tells his story of how he started his organization to give people a hand up in life and the current management tells him about Goodwill's current operations and policies as we see various people getting the help they need.

For an amateur production, this play is an engaging enough introduction to the organization and its history with good humour along the way. In addition, its case examples are entertaining themselves such as a ex-con and a single mother prostitute who find the help they need from Goodwill and turn their lives around. However, the story balances the good news with a loss as the staff come to grips with the fact that they can't save them all. For a play of this kind to have that kind of realism marks it as something better than a mindless promotion and it is better for it.

With enthusiastic acting and engaging and primarily live music making this play work, you'll learn a lot about a non-profit business that has become a cornerstone of communities around the world.

For such a engaging amateur production, it's at least worth the clothing donation admission option to enjoy it for yourself.

Electricity and Ed's Garage

Yesterday was the first time that I had to assume that London Hydro's time of use electricity rates were fully into effect and it will take some getting used to.  Much like I couldn't bring myself to spend a cent beyond necessity in my first university semester, I felt an exile from my house, afraid to come home before 7 pm and use any power beyond the things that need to be running constantly.  For instance, I have my ceiling fan running all the time on the assumption that it helps force down the heated air down to the thermostat's level and keep it from activating the furnace as often. The problem is, I don't know if that's true and I'm half afraid to find out.

On a lighter note, I saw Ed's Garage at the Grand last night and since Theatre In London already has a review for that play, it seems redundant to contribute there, so I'll confide myself to a few thoughts here.

This is my second play by Dan Needles I've seen with Rod Beattie as the lead and it was so easy to assume it would be exactly like the Wingfield series. However, this one is a more traditional play with a multiplayer cast with a story similar only in tone and humour, but that is more than enough.

In tone, this play feels a bit like a Canadian version of Green Acres with a much more welcoming tone to outsiders. They both have this fun rural community that runs by its own rules, but unlike Hooterville with its silly surrealistic suspicion of Oliver Douglas' reasoned efforts, Ed's community feels like a more understanding home that is willing to go halfway with the real world. The result is a charming story where psychology is satirized with the small town mentality, but with a gentle touch that allows for a gentle compromise of worldviews in that small town.

Rod Beattie is charming as Ed, the village insider who has plenty of room in his heart and plenty of intelligence in his head to anchor the show with a refreshing mix of empathy and intelligence. Douglas E. Hughes is his equal as Nick, the downhome sidekick who seems like the stereotypical hick, but has a kind heart and just alert enough to follow Ed's lead to carry the heavy comedy lifting without ever being annoying.

In that regard, Anrienne Gould's Cassandra character, a psychotherapist who seeking a new venue for her treatment, but with James Herriot's open mindedness, is a welcome presence.  I loved how she was willing to work with Ed's local quirks and see the larger truth while enjoying the experience. By comparison, Tim Campbell is somewhat flat as Peter, the beleaguered former farmboy.  As much as his problems are moving, he seems largely intended as the romantic lead for Cassandra with an odd laugh or two.  However, his intervention with the cow is a special moment that shows his true strength with charming clarity.

What I really loved is the stagecraft which is charmingly elaborate. The rustic charm is applied full blast with a completely convincing realism such as with the building structure and surrounding area. The overall effect is a enveloping world that sucks you in and allows your imagination to bridge the gap with the players' skill.

I'm still discovering the work of Needles and Beattie, but between this play and my first sampling of Wingfield, I had a great night out.

I forgot to mention that I am a local theatrical and film critic in my city, writing for Theatre in London (www.theatreinlondon.ca) and The Beat (www.beatmagazine.ca) for each medium respectively, as well as for gratis and for pay in the same way.

Since writing means tooting your own horn for your very career future, I'll be posting my links to my reviews, beginning with my latest:

How I Learned to Drive by Paul Vogel and performed by The Verve Theatre company

It's a challenging play about abusive families and the difficult emotional complexities that thrive in them.