Fiddler on the Loose is billed as “Country, Celtic and a Dash of Classical” – and yes, it’s all that and more. They could have added Broadway, jazz, and comedy. With regards to other musical revues, I’ve said in the past “There’s something for everyone” but in Fiddler on the Loose, it’s definitely true.

While it covers a broad spectrum of musical styles, it’s the fiddle or violin that pulls all the genres together. And what makes this season opener at Victoria Playhouse Petrolia so special is the amazing talent.

This show is the creation of artistic directors David Rogers and David Hogan, and it was built around the talent that they’ve put on stage in the past. Jesse Grandmont was outstanding in their shows ‘Let the Sunshine In” (Sarnia) and “Country Sunshine” (VPP), so Fiddler on the Loose was created to show off his talent as a violin player and singer with great stage presence. Joining him on stage is newcomer Stephanie Cadman, a quadruple threat who sings, dances, acts and plays fiddle. Completing the cast are VPP favourites Janelle Murray, who again shows her superior opera talent along with great comedy chops, and Diane Chase with her warm country and pop singing. The musicians, who will be remembered from previous seasons, are joining in the vocals and taking centre stage more often.

The show opens with a Fiddler on the Loose/Roof joke. Mark Payne as Tevye tries to take us back to Petroliavka in 1905, while Jesse Grandmont fiddles on the roof. Keeping with the roof motif, Mark yanks off his prayer apron and beard, and they switch into “This Cat’s on a Hot Tin Roof”. The familiar words to “Just a Gigolo” become “Just a Fiddle and Bow”. Stephanie Cadman and Jesse have fun with a duelling fiddles competition. Country music is saluted with “Jolene” and a medley of train songs, from Folsum Prison Blues to the requisite “Orange Blossom Special.” Diane Chase gives a beautiful presentation of “Midnight Train to Georgia”. In the midst of this Janelle Murray presents an opera number which will bring tears to your eyes with its beauty, and Stephanie shows incredible talent as a tap dancer. The entire cast plays violins for their catchy version of Cold Play’s Viva La Vida.

The wide variety continues in act two, with the violins of Phantom of the Opera, an Irish jig, and a comedy number where Janelle brings back last year’s frumpy housewife. Jesse comes wears a tux with tails to render a selection of classical waltzes on violin, and Janelle sings the beautiful “You Raise Me Up”.

The list goes on – with very creative use of fiddles/violins by very talented people. The quality of talent in this amazing cast is unfathomable. Petrolia should be proud to attract such gifted entertainers.

If you’re thinking you won’t go because you’re not a country fan or a Celtic fan, you will still enjoy this show because there is so much variety. And if the particular song isn’t your style, you will still appreciate the superior quality.

The line up of songs in this show is like the weather we’ve been having lately – you don’t like it? Sit still, it will change in a minute.

Fiddler on the Loose continues at Victoria Playhouse Petrolia until June 2. Call the box office at 1-800-717-7694 or 519-882-1221 for tickets or visit www.thevpp.ca

Fiddler on the Loose
Directed by David Rogers
Choreography by David Hogan and Adele McKenzie
Musical direction by Mark Payne
Performed by Jess Grandmont, Stephanie Cadman, Diane Chase, Janelle Murray, with Alex Baerg, Dan Baerg, Klinger’s lix, Mark Laidman and Mark Payne.
Victoria Playhouse, Petrolia
May 15 to June 2, 2013
Reviewed by Mary Alderson

The action begins in Guys and Dolls with a plethora of characters moving around the stage in all directions. You don’t know where to look first – the bum drinking out of his flask hidden in a paper bag? The bobby-soxers giggling? The lady tossing her fur stole over her shoulder? The big musical dominating the stage this year at the Shaw Festival promises lots of action in the exciting opening number.

Guys and Dolls, which first appeared on stage in 1950, is a humorous story that compares two couples against a backdrop of saints versus sinners. The sinners are the gamblers looking for a crap game and the sexy dolls who dance in the night club, while the saints come in two styles: The Save A Soul missionaries (Salvation Army style) and the cop who tries to thwart the crap shoot.

Among these people are the two couples — Gambling organizer Nathan Detroit who’s been engaged to Hot Box Dancer Miss Adelaide for 14 years; and Sky Masterson, a lucky gambler, who dates missionary Sarah on a bet. The story unfolds as the two unlikely couples come together. This Shaw production has four strong leads in these roles.

Jenny L. Wright is charming as Miss Adelaide, a darling little kewpie doll. She contrasts delightfully with Shawn Wright who is a perfect Nathan Detroit. Wright is able to show us that he truly does love Adelaide, while not being able to commit to marriage.

Kyle Blair starts out dripping in coolness as the formidable gambler Sky Masterson. Blair’s voice has that sound of a 40’s singer, the songs rippling as if they were on an old-timey radio show. Blair does justice to the favourite “Luck be a Lady”. Elodie Gillett has fun with the role of Sara Brown, moving from the prim and proper missionary in her Salvation Army bonnet to the Havana dancer enjoying her Bacardi.

Thom Allison as Nicely-Nicely steals the show with his song, Sit Down, You’re Rockin’ the Boat. Allison is a favourite at the Shaw, and the audience responds like pilgrims at a revival meeting. Of course, his popularity may also reflect the power of TV. Thom has been in theatre for many years. I first noticed his talent in 2000 when he appeared in The King & I at Huron Country Playhouse. But he got a loud and long standing ovation, in part thanks to his appearance as a charming judge on the CBC TV Show “Over the Rainbow”. I certainly do not intend to diminish his performance in any way – it was worthy of the ovation – however, it seemed like everyone in the audience felt they “knew” Thom!

These five characters bring the action to the production, as promised in the opening scene. But lacking in this show are male dancers for the crap shoot number. Of the ensemble, only three are really good dancers, meeting the demands of the catchy song and showing the frenzy of rolling the dice. It may have been forgivable to have the others just moving about in the background. But in their need for better dancers, females were dressed in zoot suits and fedoras and sent them out as men. This unfortunately just gives the impression of being at a high school production.

The women make up for this lapse with their dance numbers in the Hot Box night club. Miss Adelaide and The Farmerettes in “A Bushel and a Peck” are delightful, and they add humour with “Give Back the Mink”.

Overall, it’s a wonderful night out with a variety of fun costumes and an interesting, versatile set. Guys and Dolls is a light-hearted story with five strong actors in the lead roles. Shaw should have strong ticket sales.

Guys and Dolls continues in repertoire at The Shaw Festival, Niagara on the Lake until October 12. For tickets, visit www.shawfest.com or call 1-800-511-7429.

Guys and Dolls
Written by Jo Swerling and Abe Burrows
Music & lyrics by Frank Loesser
Directed by Tadeusz Bradecki
Choreography by Parker Esse
Musical direction by Paul Sportelli
Performed by Elodie Gillett, Kyle Blair, Jenny L. Wright, Shawn Wright, Thom Allison, et al
Festival Theatre, Shaw Festival, Niagara on the Lake
April 12 to October 12, 2013
Reviewed by Mary Alderson

I can’t wait for opening night at the Stratford Festival: I love the pomp of the red carpet and this year it will be especially good with Romeo and Juliet as the opening play. This will mark the fourth time I’ve seen Shakespeare’s great romantic tragedy on the Festival stage.

Romeo and Juliet was the first show I ever saw in Stratford. My older sister took my mother and me to see it in 1968 when I was in grade seven. I was excited about it beforehand for all the important reasons: it was an opportunity for me to wear the denim flower-power print mini-dress I had made in 4–H club. I remember being amazed at the circular theatre, and the huge number of people in it. (Probably before that night, the biggest audience I had ever seen for a show was in the church basement or school gym, so the Festival Theatre seemed really big.)

Inside the program for Romeo and Juliet in 1968 – on the right a young Christopher Walken reaches for the lovely Louise Marleau. I saved my ticket stub, but unfortunately, it doesn’t show the price.

Then the show began. I remember thinking that I didn’t really understand what they were saying, but still I knew what was going on. Seeing live actors on a stage was thrilling. What I didn’t realize then was that I was seeing theatre stars! Christopher Walken as Romeo and Louise Marleau as Juliet! Yes, that Christopher Walken, when he was young and handsome, reaching up in the balcony scene. Yes, the same Christopher Walken who is famous for the cow bell sketch in Saturday Night Live! Louise Marleau is well-known in Quebec starring in many francophone movies.

I didn’t get back to see Romeo and Juliet again until 1992. But it was a wonderful experience and a superior production. I was teaching English and Communications at Centralia College near Exeter at the time. I had a class of young women taking the Food Service Supervisors program. It was my job to improve their grammar and writing skills, and work on public speaking, too. We did not have any literature in the curriculum. But then a flyer from the Stratford Festival arrived in the mail, saying tickets were only $2 each for college classes. I informed my students we were planning an outing to Stratford. Immediately the whining began. It will be so boring. We hate Shakespeare. We won’t know what they are saying. And on, and on.

So I interrupted our course of study on apostrophes, where we were learning the difference between possessives and contractions, and spent a few days studying Romeo and Juliet. (I didn’t let the class know that I had never taught literature before…) When the date arrived, off we went, and they were still kicking and complaining. We had lunch by the Avon River, and when I was standing at the head of a line of picnic tables, talking to my girls, a swan waddled up and stole the sandwich right out of my hand. It gave the group a laugh and we went into the theatre in good spirits.

Suddenly they were spell-bound. When intermission came, they turned to me and said “It’s not over, is it?” (In the theatre etiquette lecture, I neglected to mention there would be an intermission.) They wanted more. After the show, as we were boarding our bus, all the young ladies were reaching for Kleenexes. It was unanimous – that was the most beautiful, wonderful thing they had ever seen. And sooooooooo sad. One student said that it was better than “Dirty Dancing”, which up until then, had been her favourite show. High praise, indeed. When the year end came, they gave me a card, where many of them cited the Stratford trip as the highlight of the year.

It was a wonderful production, with Antoni Cimolino as Romeo and Megan Porter Follows as Juliet. They were the perfect star-crossed lovers. Today, Antoni Cimolino is Artistic Director of the Stratford Festival, and Megan Porter Follows is, of course, famous as Anne in the Anne of Green Gables movies, among many other movie and TV roles in both Canada and the US.

Then in 2008, I enjoyed Gareth Potter as Romeo and Nikki M. James as Juliet. It was an unusual production, complete with a motorcycle.

Many interesting people have been in the lead roles of Romeo and Juliet over the years at Stratford. Way back in 1960, Bruno Gerussi of Beachcombers fame was Romeo. In 1977, Richard Monette was Romeo and Marti Maraden was Juliet: both went on to be Artistic Directors at Stratford, Monette for many years, Maraden briefly. In 1984, Colm Feore played Romeo while Seana McKenna played Juliet, both of them Stratford favourites. And if you’ve taken a French class anytime since 2006, you’ve seen Colm Feore in the movie Bon Cop, Bad Cop – the great Canadian bilingual film.

So this year we will be seeing Daniel Briere as Romeo and Sara Topham as Juliet. Let’s see what memories they will conjure in our imaginations, when we look back in retrospect a few years from now.

Saturday, May 4 and Sunday, May 5

“Arts, Eats & Beats”

 My husband, Victor, is recovering from his April 10^th heart-attack and taking part in the studio tour as planned.  He’ll have about 60 paintings and photographs for sale, displayed in our condo-cottage at
#12, 3 River Road, in Grand Bend.

Studio Tour Special: frames included at no charge.

Please drop in!

In all, there are 19 locations to see various artists’ work, plus several restaurants offering special food and musical entertainment, and a concert at The Gables on Saturday night with blues legend Eddie Shaw and his band The Wolf Gang. 

 For more information on this event, visit: http://grandbendstudiotour.com

Or “like” them on Facebook: https://www.facebook.com/#!/pages/Arts-Eats-and-Beats-Grand-Bend-and-Area-Studio-Tour/574129612604839?fref=ts

To see Victor’s work, go to www.victoralderson.com

Saturday, May 4, 10:00 a.m. to 5:00 p.m.
Sunday, May 5, 11:00 a.m. to 5:00 p.m.

We hope to see you in the ’Bend this weekend!    

If you are sitting at home watching Dancing with the Stars on TV, shame on you! Get off the couch right now, and go to the Grand in London to see Dance Legends. It is so much better!

This is a high energy show, with thrilling choreography, guaranteed to impress you and lift your spirits. The cast of 16 dancers and two singers give it their all, and the results are amazing.

I first saw Dance Legends at Huron Country Playhouse in 2010. Artistic Director Alex Mustakas put together the show which traces choreography through the past 100 years.

It features tap dance, quick-steps, ballet, modern dance and everything in between. The highlights are many: the evening gets going with a fast moving Nicholas Brothers tap number featuring Joel Taylor and Brett Taylor, and the audience gasps when both young men go straight to the floor in splits.

While Michael Torontow sings House of the Rising Sun, several members of the troupe present a fascinating modern dance. Erica Peck sings Debbie Reynolds style as the dancers take us through a “Singin’ in the Rain” collection.

One of my favourites is the Bob Fosse choreography in a tribute to Chicago with All the Jazz and Razzle Dazzle. The entire company spreads waves across the stage in the salute to Fosse. There is an impressive Fred Astaire collection to wrap up Act I.

Act II opens with a beautiful ballet with Brett Taylor and Lisa Jantzie. Erica Peck’s voice is outstanding in “You Don’t Have to Say you Love Me”, to which Andrew Kyrzyk dances the Twyla Tharp poignant choreography. Also in the passionate Tharp style, Jacques Monfiston and Kimberly O’Neill dance to Michael Torontow’s moving rendition of “That’s Life”. Then we move on to West Side Story, Jerome Robbins style.

In a salute to modern dance movies, we travel to scenes from Flashdance, Footloose, Dirty Dancing and Saturday Night Fever. Jessica Keeling is excellent skipping through the iconic Flashdance scene and entire company brings together the joy and energy of Footloose. Joel Taylor has the Patrick Swayze moves in Dirty Dancing as he lifts Christine Watson high in the air.

The real audience favourite is the Michael Jackson section, with the dancers all sporting one sequinned glove, and again demonstrate their endless energy.

Jacques Monfistin takes on singers Erica and Michael in a challenge of duelling voices and feet. I’m not sure the naked eye can actually see Jacques’ feet move, but I think Erica scatted her way to victory.

Costumes are amazing throughout the show, with frequent changes. The dynamic seven-piece band sits at centre stage between and under two stairways, which are used throughout by the dancers. Credit goes to lead choreographer Gino Berti for making full use of the stage and bringing out the best in these dancers.

While this production compares favourably to the show’s debut at Huron Country Playhouse in Grand Bend three years ago, it was lacking in one area. I was very impressed with the education that the Grand Bend production offered: information about each original choreographer was posted on the big screen and even the program offered background information.

I can’t stress enough the great energy this dance troupe puts into this show. If just a tiny bit of it rubs off, you will be lighter on your feet when walking to the parking lot at the end of the performance.

Dance Legends continues at the Grand Theatre, London until May 18. Tickets are available at the Grand box office at 672-8800 or 1-800-265-1593 or visit www.grandtheatre.com .

Dance Legends – Grand Theatre 2013
Conceived by Alex Mustakas
Orchestrations and vocal arrangements by Robert Foster
Lead choreography by Gino Berti
Additional orchestrations by Michael McClennan
Directed by Susan Ferley
Performed by Dancers: Alex Black, Marc Cardarelli, Lisa Jantzie, Jessica Keeling, Shelley Kenney, Bethany Kovarik, Sasha Kozak, Andrew Kyrzyk, Jacques Monfiston, Natalie Moore, Kimberly O’Neill, Joel Taylor, Brett Taylor, Kyle Toy, Courtney VanWirdum, Christine Watson, and Singers Erica Peck and Michael Torontow.
Grand Theatre, London
April 16 to May 18, 2013
Reviewed by Mary Alderson

Fiddler on the Roof is a show for singers and Stage West’s current production is well cast with amazing voices. George Masswohl is the quintessential Tevye: He has the rich full voice to sing the favourite songs, such as Tradition and If I were a Rich Man. He has the look, and portrays the character with the right bravado but can also depict Tevye melting when he wants his daughters’ happiness. He also knows how to infuse comedy into his irreverent chats with God.

The songs make Fiddler on the Roof such a perennial favourite in musical theatre. Sunrise, Sunset at the eldest daughter’s wedding offers an emotional moment. Miracle of Miracles and Now I have Everything are a charming love songs, and the list goes on.

Behind the wonderful music is a rich story, relating the plight of Jews living in Russia under the unpopular Tsar, prior to the communist revolution. Despite poverty and fear of repression by the Russian authorities, the love of family and community made life worth living. Father Tevye takes great pride in upholding the traditions of his religion and family life. But like all generational clashes, his daughters (he has five) challenge him with their new and modern ways.

The daughters mock the old matchmaker, who is busy trying to find them husbands. The lively Matchmaker song is sung charmingly by the three oldest daughters, played perfectly by Gabi Epstein, Amy Wallis and Nicole Norsworthy. Epstein also has the opportunity to show her comedic talent, both in the Matchmaker song and when she plays the ghost of her grandmother.

The three girls’ suitors (none sanctioned by the Matchmaker), Jon-Alex MacFarlane, Eric Craig, and Graham Cardiff Parkhurst, are very good in their roles, forcing change on Tevye and his traditions.

The ensemble does justice to the beautiful songs, bringing them to life. The very poignant Sabbath Prayer is sung perfectly. There are also very good dancers, doing double duty. They give us Russian Cossacks dancing in the pub celebration, later they are Jewish dancers, carefully balancing bottles on their heads. Both dances are very well done, especially considering the limited space.

The set is good, making full use of Stage West’s small stage. The family home opens up to reveal the interior, or turns about to become the local pub.

Fiddler on the Roof is a wonderful show, enjoyed by all ages. It is also a lesson in Jewish history, persecution and emigration, well worth remembering. Packaged together with music and dance, this production offers an enjoyable evening.

Stage West and its connected Ramada Hotel in Mississauga is the ideal place for a mini-vacation. Enjoy a weekend package – A huge, delicious buffet dinner, a touching musical, a very comfortable hotel suite, and breakfast the next morning. All this can be had for the reasonable price of $289 for two on a Saturday night (weeknight prices are even lower.)

Fiddler on the Roof continues at Stage West, Mississauga until April 20, and includes buffet dinner. Special packages also include hotel suite and breakfast. Call 1-800-263-0684 or see www.stagewest.com

Fiddler on the Roof
Based on the stories of Sholem Aleichem
Written by Joseph Stein
Music by Jerry Bock, Lyrics by Sheldon Harnick
Directed & Choreographed by Max Reimer
Musical direction by Anthony Bastianon
Starring George Masswohl
Stage West, Mississauga
February 12 to April 20, 2013
Reviewed by Mary Alderson

Promoted by the TV reality show and with an updated script, The Wizard of Oz has shaken off its 1939 look and moved into the new millennium. Even some of the old dialogue has been modernized with new jokes and puns. Since its opening earlier this year at the Ed Mirvish Theatre in Toronto, it has been attracting happy audiences of all ages.

The book, The Wonderful Wizard of Oz was written in 1900, and became a Broadway musical in 1902, but wasn’t the version we’re familiar with today. In 1939 the iconic movie version came out, starring Judy Garland. The version that’s been on stage in recent years is a copy of the movie – that is until Andrew Lloyd Webber decided to update it for London’s West End. Following its success there, he decided to use the same recipe in Canada, selecting Dorothy on a reality show on CBC TV, then launching the musical which included some new songs and a punched-up script.

Last fall, CBC launched the hunt for Dorothy, auditioning young women from across Canada. Danielle Wade won the role which has made her the star of the musical now on stage at Ed Mirvish Theatre in Toronto. When she walks out, we immediately see that Danielle is a difference Dorothy. She appears in overalls, which seems a little disconcerting. In fact, everything is beige and brown and bland: from her overalls, to the farm hands clothes, to the faded clap-board house and rusty windmill.

Fortunately, Dorothy changes her clothes before she runs away from home, and arrives in Oz in the traditional blue gingham dress. Danielle sings beautifully, and does justice to “Over the Rainbow”, the song that everyone comes to hear.

Commanding the stage is Lisa Horner as the Wicked Witch of the West. Her fire-shooting broom and scary cackle are almost enough to frighten small children. She also brings some laughs to the role, especially when she appears in a box seat and startles the members of the audience sitting there.

Cedric Smith is perfect as Professor Marvel and The Wizard. You’ll remember him as the patriarch on the Road to Avonlea TV show.

The trio of Scare Crow, Tin Man and Cowardly Lion are all expertly presented by Jamie McKnight, Mike Jackson and Lee MacDougall. The Scare Crow has new lines to make children in the audience giggle, when he talks about thingies and whatchamacallits. The Tin Man squeaks and groans as he moves, and then offers a tap dance. When the poppies cast a sleeping spell over the Lion, he responds with “the Lion sleeps tonight”, and later when it snows he says he’s a “Lion in winter”.

Tilly the Norfolk Terrier is wonderful as Toto – no fake stuffed dogs in a basket appear in this production! But Tilly should be good! She’s well-experienced in the role, having played Toto at the Grand Theatre in London, as well as Huron Country Playhouse in Grand Bend and St. Jacobs Country Playhouse. With the long run of this production, Tilly decided to bring in help – her two brothers Neddy and Winny are her understudies.

The video special effects are impressive: we are taken right into the heart of the tornado. Sets and props are excellent: there is also a steampunk look with the generator used at the beginning of the show, and the Wizard’s set up. As well, there’s a clock theme, à la Wicked. Professor Marvel’s wagon with his magic lantern show is a delight and the yellow brick road is really a yellow brick treadmill for Dorothy and her trio to travel on.

If there are any disappointments, it might be that the choreography lacks excitement. What they were given is well-executed by the dancers, who are limited by costumes. As Munchkins, the women have hoop skirts, and as Winkies they are hobbled in long coats. The choreographer is Arlene Phillips of England, who was Andrew Lloyd Webber’s representative on the panel of the TV show to select Dorothy. She hasn’t used this talented Canadian cast of dancers to their full potential.

Nevertheless, this is a wonderful family show and an ideal way to introduce children to live theatre. The action is fast enough to hold their attention, and the witch and wizard scary enough to make it fun. Video special effects and lots of fire bring it into the 21st century. At the same time, it holds adults’ attention with updated dialogue, so all ages can enjoy it.

The Wizard of Oz continues with eight shows a week at Ed Mirvish Theatre. Call Ticket King 416-872-1212 or 1-800-461-3333 or visit www.mirvish.com  for tickets.

The Wizard of Oz
From the book by Frank L. Baum, based on the classic motion picture, adapted by Andrew Lloyd Webber and Jeremy Sams
Music by Harold Arlen, Lyrics by E.Y. Harburg, with additional music by Andrew Lloyd Webber and additional lyrics by Tim Rice
Directed by Jeremy Sams
Musical direction by Franklin Brasz
Choreography by Arlene Phillips
Performed by Danielle Wade, Cedric Smith, Lisa Horner, Mike Jackson, Lee MacDougall, Jamie McKnight, Robin Even Willis, Larry Mannell, Charlotte Moore et al.
Ed Mirvish Theatre, Toronto
Closes in Toronto Aug. 18 – Launches North American Tour in Las Vegas Sept. 10
Reviewed by Mary Alderson

Back in the 1990s a group of actresses got together when they became new moms. Like most new mothers, they were exhausted, frustrated and feeling overwhelmed. They decided to write about their experiences, and these short stories evolved into a play – a series of vignettes about raising babies. The play was first produced in 1993 called Mom’s The Word, followed 10 years later by Mom’s The Word 2: Unhinged, which tracked their experiences raising teenagers.

Now a hybrid of those two shows has been created. In Mom’s The Word For Crying Out Loud, Act I covers the issues of babies and toddlers, then Act II takes us through the challenges of the teenage years.

Now on stage at the Grand Theatre in London, this production has brought together all but two of the original authors who first travelled the country with the show 20 year ago. Most of the sketches are hilarious glimpses into the horrors of motherhood. We laugh because they are all too familiar. But blended with the funny stuff are some poignant moments too – the anxiety when a preemie barely survives, the heartache when a teenager becomes involved in drugs.

Act I starts with a fun song and dance number that puts all the foibles of motherhood into a hit parade of music. In the opening of Act II, they are the Alienators: those moms that completely embarrass and humiliate their teeny bopper kids at every opportunity.

I enjoy most those moments where I have a jolt recognition: my favourite line when I first saw the show several years ago is still there. “Every day I start out Mary Poppins, but I end up Cruella DeVille,” says a mother of young ones.

Some of the laughs in the show result from the use of shock value. The first time the f-word is used, an uncomfortable laugh titters through the audience, but when it is used again, there are loud guffaws. Soon, the f-word goes by hardly noticed – used by both moms and teens.

Similarly, there is great laughter when the audience is taken by surprise at breasts being used as squirt guns by breast feeding moms, and another scene, there is complete nudity at the swimming pool. There are also disgusting diaper pail jokes – nobody promised a clean show! We learn about motherhood, wrinkles, warts and all.

And through all this, the audience is squealing and roaring with laughter. Each little vignette is funnier than the last, as the cast of five talented women share their stories.

Mom’s the Word For Crying Out Loud will keep you laughing out loud. Grab your mom or your daughter and head for a ladies’ night out.

Mom’s the Word continues at the Grand Theatre, London until April 6. Tickets are available at the Grand box office at 672-8800 or 1-800-265-1593 or visit www.grandtheatre.com.

Mom’s The Word For Crying Out Loud
Written by Linda A. Carson, Jill Daum, Alison Kelly, Robin Nichol, Barbara Pollard & Deborah Williams.
Directed by Wayne Harrison
Performed by Lindsay Burns, Jill Daum, Alison Kelly, Barbara Pollard & Deborah Williams
Grand Theatre, London
March 19 to April 6, 2013
Reviewed by Mary Alderson

It’s not ostentatious, there’s nothing flowery or especially fancy about it. There’s no plush carpet, no crystal chandeliers dangling from the ceilings. It’s almost austere. But to a fan of live theatre, the new Dunfield Theatre in Cambridge is beautiful.

With walls of glass, the building is attractive enough from the outside. But there’s no flashing theatre marquee over the door. In fact, the beauty is in the simplicity.

Inside the 500 seat theatre, there is plenty of room. Seats are spacious, and like Huron County Playhouse, the rows are far apart enough that latecomers (and why is that latecomers are always seated in the centre?) can squeeze in without making everyone stand or step aside. The sight-lines are good and the sound is excellent. The stage includes the high ceiling so that scenes and backdrops can “fly” up for changes, and in fact, actors on stage can fly, too (and they make good use of that ability in Mary Poppins!)

The word that comes to mind is “serviceable”. This is a good serviceable theatre – any theatre goer will be able to concentrate on the story onstage and not be distracted by the surroundings.

Six years in the making, and costing $14 million, this theatre was built thanks to a partnership between the governments of Canada and Ontario, the City of Cambridge, Drayton Entertainment, and a donation from Dunfield Retirement homes.

The new theatre is located in the south end of Cambridge, in the old Galt area. It shares a parking lot with the various outlet stores located in the rustic old buildings that were once textile mills in Galt.

The new Dunfield Theatre is part of the Drayton Entertainment family, which includes the Drayton Festival Theatre (Drayton), King’s Wharf Theatre (Penetanguishene), Huron Country Playhouse & Playhouse II (Grand Bend), and the St. Jacobs Country Playhouse & Schoolhouse Theatre (St. Jacobs).

Congratulations to Drayton Entertainment – bringing a brand new theatre to fruition is no easy feat. We are fortunate it’s right here in southwestern Ontario. And that’s a beautiful thing!

There is nothing like having a new home – Mary Poppins flies into the Banks’ household and becomes an important part of the family, even though her stay is relatively brief. The production of Mary Poppins is also located in a new home – the Dunfield Theatre in Cambridge. It’s so exciting to see a large scale production in a brand new theatre!

The stage story of Mary Poppins, for the most part, follows the same plot lines as the popular Disney movie, which, by the way is almost 50 years old! The Banks children are running wild: their mother is distracted and their father is gruff, so the children feel neglected. They go through several nannies before Mary Poppins blows in to straighten them out, and love them at the same time. But in the stage version Mrs. Banks is not a suffragette, instead by the end of the show she demonstrates what a strong woman she is. The stage version also has a delightful trip to a candy store not seen in the movie.

As Drayton Entertainment says in their new slogan “Believe in the Magic”, and their production of Mary Poppins is filled with magic which is far more spell-binding than any film. Mary arrives out of nowhere, and then proceeds to unpack her carpet bag. She lifts the most amazing things out of it. Then she and Jane unfold a quilt, and suddenly her bed appears!

In the kitchen, the furniture magically repairs itself. Bert, the chimney sweep, cartwheels over roof tops and leaps through the air from one chimney to the next. And Mary magically flies across the stage at various times.

The dancers in this show create magic, too. Supercalifragilisticexpialidocious is inventive in the way they present that amazing word, and provides a very energetic ensemble number. Step in Time brings together all the chimney sweeps in a lively tap dance.

Jayme Armstrong, a Drayton Entertainment favourite, is “practically perfect” as Mary Poppins. Huron Country Playhouse patrons will recognize Jayme as Guinevere in Camelot, Rosemary in How to Succeed in Business without Really Trying, and Judy in 9 to 5. The role of Bert is played by the charming Mark Ledbetter, who previously played it on Broadway.

Jayne Lewis is the bird lady who tugs at your heart strings and also the terrifying evil nanny Miss Andrews. She is amazing in both roles, and belts out the frightening “Brimstone and treacle” song with a powerful voice. We were delighted when we overheard a young man sitting behind us say “Mom still has it”, after her solo!

Karen Wood as the housekeeper Mrs. Brill provides much laughter with her cheeky attitude. Also noteworthy are the children sharing the roles of Jane and Michael: Trek Buccino, Hadley Mustakas, Jayden Greig and Avery Kadish.

In fact the entire cast makes magic with this show – a memorable evening for any child – or any adult, for that matter.

Mary Poppins continues with eight shows a week until April 28 at Dunfield Theatre, Cambridge. Tickets are available by calling the Box Office: 519-621-8000 or Toll Free 1-855-372-9866, or check http://www.draytonentertainment.com/

If you can’t make it to Cambridge to see Mary Poppins , this very production will be coming to Huron Country Playhouse, Grand Bend August 7 to 31, 2013.

Mary Poppins
Based on the stories of P. L. Travers & the Walt Disney film
Music and lyrics by Richard M. Sherman & Robert B. Sherman
Book by Julian Fellowes
Directed by Nigel West
Choreography by Leigh Constantine
Music Direction by Elizabeth Baird
Performed by Jayme Armstrong, Mark Ledbetter, James Kall, Jackie Mustakas, Trek Buccino Hadley Mustakas, Jayden Greig, Avery Kadish et al.
Dunfield Theatre, (Drayton Entertainment), Cambridge
March 6 to April 28, 2013
Reviewed by Mary Alderson