When she says she misses sex, Fulton fills that comment with deep rooted frustration and yet pleasure in the memory of more physically fulfilled times. The white sheet that was draped over the stage created the impression of a bleak winter landscape.
When Seamus appears one would have expected some kind of shifting of power, a heightening of suspense, but again, with little help from the text and from the direction there is no sense of danger or intrigue. They can save them with their knowledge.
Camellia Koo has designed a set of white, stark, barrenness. Then matters take a turn. Elena immediately thinks of her family yet for some reason Yvette Nolan does not have them decide to go back then and there. Kelly Nestruck on Twitter nestruck.
The characters seem to skim the surface and so the actors have little to work with. Well, there is the excessive dependence on technology in the modern era; the destruction of the environment; the obsession with consumerism; the conflict between the aspirations of the individual and the community; the treatment and perception of elderly women as undesirable and useless; the ongoing oppression of Indigenous women; and the forgetting of Indigenous knowledges.
Also on stage Bull gets a much slicker presentation at the Coal Mine, an intimate new venue located under a pizza joint on the Danforth. She has had to leave her family.
It pervades much of the first scene, and makes hearing what they have to say, difficult. Respect aboriginal culture and your elders! So what did this rather short, minute performance make us think about?
Still, back to those native-culture field trips on Haida Gwaii, I can think of a few people who commented on the article who could use a trip to the theatre to see this. I thought it a bold move that Nina Lee Aquino cast two women who are not Aboriginal to play two parts that are Aboriginal. They get into it pretty quickly.
The Unplugging, a play by Algonquin playwright Yvette Nolan that won the Jessie Award for outstanding new script, imagines life in Canada after a series of catastrophic events has taken out the electrical grid — and, even more frighteningly, Google.
She wanted the best actors for the part with out confining them to the ethnicity of the parts. In The Unplugging, the very near future is a post-apocalyptic nightmare: Diana Belshaw and Allegra Fulton are white women. The use of lighting and sound were, I would say, downright impressive.
What ideas did it play with? Although Umed Amid has a promising future, he never quite played the role of Seamus with enough conviction. The dim lighting and the misty fog that enveloped the room at the outset of the play actually gave me a chill.
Runs Until Saturday, November 03, On Haida Gwaii, formerly the Queen Charlotte Islands, the school curriculum might include deer hunting or berry picking — exposing students to traditional aboriginal culture. If only the production lived up to the premise.
Elena and Bern are now considerably useful to their dying community. March 18, Cast: Factory Theatre and Native Earth present: Diana Belshaw is brooding and bitter as Elena. And this is a threat that survives even the apocalypse. Even if timely, this production felt stale. Even in aboriginal communities, people have become so removed from their native culture that they are no longer able to live off the land, to fend for themselves using the ways of their ancestors.
Their native community, unable to handle the abrupt change and the consequences for survival, has expelled the women, who are deemed a drain: The Unplugging is a play, after all, that seems to be concerned about bringing the stories of Aboriginal women to centre stage.
There is a twist in the story but just seems unsatisfying and not fleshed out enough. The simple community of two that Elena and Bern have created for themselves might be in jeopardy until Seamus makes them an offer they find intriguing. He tells them he has left the community in disgust over its leadership.
There certainly is a sense of effort as Elena Diana Belshaw and Bern Allegra Fulton trudge through the fierce wind and cold, with Elena collapsing in the snow and Bern standing over her, urging her on.
One day the power went out and that was that. It would also be a worthwhile field trip for those Haida students for any students, in fact because there is something important to learn here.
What especially amazed me about the performance was that the actors never went off stage to change their costumes; instead, they removed layers of clothing on the stage itself. Set in an imagined post-apocalyptic future, The Unplugging invites us into an unexpected landscape.The Unplugging, a play by Algonquin playwright Yvette Nolan that won the Jessie Award for outstanding new script, imagines life in Canada after a series of catastrophic events has taken out.
Review: THE UNPLUGGING.
by Lynn on March 22, in The Passionate Playgoer. At Factory Theatre, Toronto, Ont. Written by Yvette Nolan Directed by Nina Lee Aquino Set by Camellia Koo Costumes by Joanna Yu Yvette Nolan got her idea for The Unplugging from an Athabaskan story.
The UnpluggingReviewer's Ratinghe Unplugging, written by Algonquin playwright Yvette Nolan, is not a play driven by action. It’s about dialogue. Most importantly, it’s theatre that makes us think.
Written by Yvette Nolan On Stage at Factory March 14 – April 5, In an instant, electricity all over the world stops flowing and humanity is left in the dark.
Unplugging in the fall of The things that scared me then, that drove me to Nina Lee Aquino Yvette Nolan Alex Punzalan Clare Preuss THE COMPANY.
Ric Knowles BIOGRAPHIES UMED AMIN, Seamus. and has written her second play, Every Letter Counts (World Premiere. Oct 19, · 2 out of 4 stars. Title The Unplugging Written by Yvette Nolan Directed by Lois Anderson Actors Jenn Griffin, Margo Kane, Anton Lipovetsky Venue Arts Club Revue Stage2/5.Download