This month (Nov. 11, 12,13) Solstice Theatre is presenting Heroes at the Community Hall. Tickets are now available at Talisman Books and Southridge Store.
Heroes is a French play by Gérald Sibleyras, entitled, Le Vent Des Peupliers. It was translated by the award-winning British playwright, Tom Stoppard, who has had many theatre and film successes to his credit, and is perhaps best known for his play and the subsequent film, Guildenstern and Rosencrantz Are Dead. Heroes first appeared in London in 2005, winning the Olivier Award for best new comedy.
The story concerns three First World War vets who years later find themselves in a care home. Their imagined nemesis, Sister Madeleine, is a woman we never meet. At times Heroes is reminiscent of Samuel Beckett’s Waiting For Godot, where the principal characters discuss and wait endlessly for something to happen, a something that never comes to pass. Heroes also carries a whiff of Don Quixote — we remember that comic hero striving for epic and chivalrous adventures while listing at windmills. And finally, the play might even have a touch of Benny Hill with its bawdy humour and blatant absurdity.
We hope these three amigos will provoke a laugh and a smile, though occasionally even a groan as each one attempts, in his own way, to cope with his life’s calamities. For us Heroes is a play about friendship, courage and the quest for purpose.
Evan Llewellyn: Director/Gustave
Evan has been involved with community theatre for many years. This is his third production with Solstice Theatre. He previously directed Office Hours and appeared as the playwright in Death By Design. Evan is also directing this December’s Christmas play, Cinderella.
Barry Mathias: Henri
Barry joined Solstice shortly after coming to Pender in 1995, and has been involved ever since. One of his first roles was playing
Malvolio in the outdoor performance of Twelfth Night, and since then, to quote him, “I’ve had the privilege of acting with many of Solstice’s fine players”. Barry notes the actors are getting older. At least, he suggests the other two in this play are! This is his way of saying we welcome younger people to join our ranks. In last year’s production of Office Hours Barry opened the play with the longest monologue of his career. Now in Heroes, he has the most lines he’s ever had. He’s hoping his next role may be a mime.
John Pender: Philippe
This is John’s first feature performance with Solstice Theatre after appearing in the somewhat odd role of the prompter in Modern Christmas Carol. John’s previous theatrical experience was as an integral part of the “Empathic Repertory Theatre” in Nanaimo from 1992-1995. The group performed youth-focused short plays and skits all over Vancouver Island, and they were featured on the CBC TV program People Who Make a Difference. John is honoured to appear with such distinguished fellow thespians as Evan and Barry in this production.
The Cinderella Christmas Pantomime also known as Cindy’s Xmas Show!
There was a lot of confusion when we first said we were going to do a pantomime as most non British Penderites had no idea what we were talking about! “Is it for deaf people?”, “Is it all miming in white gloves?” , are just some of the comments we received, so we changed the name of the show as it certainly is not any of those things! But in reality it will still be Penders first Panto. So here is a quick history of the tradition of English Pantomime.
In the United Kingdom, the word “Pantomime” means a form of entertainment, generally performed during the Christmas season. Most cities and towns throughout the UK have a form of Pantomime at this time of year. The origins of British Pantomime or “Panto” as it is known date back to the middle ages, taking on board the traditions of the Italian “Commedia dell’ Arte, the Italian night scenes and British Music hall to produce an intrinsic art form that constantly adapted to survive up to the present day.
Pantomime, as we know it today is a show predominantly aimed at families based on a popular fairy tale or folk legend. The most popular subjects being “Cinderella”, followed by “Aladdin”, “Dick Whittington” and “Snow White”. Other popular titles are “Jack & the Beanstalk”, “Babes in the Wood”,( usually combining the legend of Robin Hood) and “Sleeping Beauty”. It is unusual in that men play a lot of the women’s roles and girls play some of the lead male roles. There is lots of interaction with the audience and the shows combine singing, dancing, slapstick and chases to make it an evening of tremendous fun.
The Theatrical tradition of men playing women can be traced back to the early days of theatre, when it was deemed not appropriate for women to enter the theatrical profession. Boys played all the female roles in Shakespeare’s plays, and even during the Restoration, when actresses were established on the stage, often middle aged actors played the roles of older or comedic ladies, since the new breed of actress either did not possess the years, or the inclination to play such unglamorous roles.
The Ugly Sisters were first seen played by women in Rossini’s opera, “La Cenerentola” in London, but were swiftly transformed into men playing the roles in 1860, at the Royal Strand Theatre, London. The Ugly Sisters differ from the Dame in that they have to tread the thin tightrope between being hugely comic characters, and yet still remain villains of the piece with their cruel treatment of Cinderella.
The other element of “Traditional” pantomime is the “Principal boy” role, played by a girl. Women had for a long time played the “breeches role” in theatre, as far back as the early 1800’s. By the middle of the nineteenth century the vogue for ladies to take on the heroic roles of “Jack” or “Dick Whittington” or “Aladdin” was beginning, and with the rise of Music Hall it became the rule. Quite simply, the Victorian male, living in a society where even the legs of the parlour piano were covered for modesty’s sake , craved the vision of a well turned calf, or shapely ankle. Whilst ladies were corseted, crinolined or bustled on the street, artistic license allowed ladies upon the stage to wear costumes that revealed shapely legs in tights on condition that they were playing a male role!
A visit to a pantomime may be a child’s first experience of live theatre. If that experience is magical enough, it can leave a lasting impression. In a world where children are surrounded by computer games and videos, DVD’s and the all pervasive influences of television, a visit to a pantomime could be a catalyst. The audience of the future- not just Pantomime, but live theatre could be fostered by the experience of sitting in a darkened auditorium, not a couch in front of a flickering screen, and watching the magic of Pantomime. The tradition will continue, children and their parents will shout “Oh yes it is!” as loudly as ever, and when the actor in the rabbit suit waves his arms behind our hero, children of all ages will still cry out “Its-behind-you!”
Extracts from “The History of Pantomime” by Nigel Ellacott and Peter Robbins
Submitted by Gregory Nicholls