TOM AT THE FARM - BUDDIES IN BAD TIMES THEATRE - PREVIEW - ALL INFORMATON & WRITTEN MATERIAL USED (BELOW) WITH PERMISSION, FROM BUDDIES IN BAD TIMES THEATRE WEBSITE AND PRESS RELEASES

MICHEL MARC BOUCHARD’S DARK MASTERPIECE COMES TO THE BUDDIES STAGE

Buddies in Bad Times Theatre presents

TOM AT THE FARM

written by Michel Marc Bouchard

April 11- May 10, 2015 | BUDDIESINBADTIMES.COM

When Tom travels to the country for his lover’s funeral, he is seduced into a family’s savage game of desire, secrets, and fantasy. Unable to reveal his true relationship with the deceased Tom is caught between comforting his lover’s distraught mother and appeasing his violent brother. In their grief and frustration Tom discovers an elaborately woven fantasy life created to cope with the darkness of their family history. As he is drawn deeper into their dysfunctional torment, the lines between truth and fiction becomeindistinguishable and lust and brutality merge.

Written by prominent French Canadian author Michel Marc Bouchard and directed by the Shaw Festival’s Eda Holmes, Tom at the Farm is a momentous occasion in the 2015 Toronto theatre season. Its artistic team is completed by venerated performers Christine Horne (Dora Award Winner, Best Performance, The Turn of the Screw), Jeff Irving(Shaw Festival), and Jeff Lillico (Stratford & Shaw Festivals). The production is enrichedwith set design by Camellia Koo, costume design by Michael Gianfrancesco, lighting design Rebecca Picherack and sound design by John Gzowski.

This monumental production will mark the Tom at the Farm’s English Canadian premiere. It has been presented in the original French in both Quebec and France, translated intoseven different languages, and was recently adapted for the screen to much critical-acclaim by Quebecois director Xavier Dolan. A major French Canadian work, this gripping psychological thriller takes on new significance at Buddies, the world’s largest queer theatre.

   A MASTERFUL EXPLORATION OF LOSS AND LONGING

A thrilling landmark for Buddies in Bad Time Theatre, this production brings Michel Marc Bouchard’s work to the Buddies stage for the first time.

Written by one of the country’s most distinct theatrical voices, Tom at the Farm offers a haunting portrait of grief. Set amid the starkness of rural Ontario, the farm’s inextricable connection with life and death is juxtaposed by social discrimination and deception.Bouchard’s darkly visceral script expertly teases apart multiple layers of half-truths and imagined histories in a twisted cat and mouse game between Tom and his lover’s brother.

Their enigmatic relationship uncovers the overlap between lust and violence, grief and desire to reveal our darkest human impulses. At the vanguard of cultural conversation,Buddies is honoured to share this exhilarating exploration of shame and deceit withToronto theatre audiences.

ESTEEMED FRENCH CANADIAN PLAYWRIGHT SHARES HIS WORK WITH TORONTO AUDIENCES

Michel Marc Bouchard is the author of over twenty acclaimed works that have been produced the world over. His bold and visionary works have been staged internationally and have garnered many awards including the National Arts Centre Award, Betty Mitchell Award, Prix du Journal de Montréal, Primo Candoni (Italy), and SACD (France). Much of his work has been adapted for film, including his Dora and Chalmers Award winning play Lilies, by Toronto-based filmmaker John Greyson. He received four nominations for the Governor General’s Award for literature, including one for Christina, The Girl King, which just received a three month run at the Stratford Festival last fall. A much sought-after playwright, Bouchard’s most recent work, The Divine: A Play for Sarah Bernhardt, has its world premiere at the Shaw Festival in July.

Bouchard has been writer-in-residence at Théâtre de Quat’Sous and Théâtre du Nouveau Monde in Montréal, New Dramatists in New York, the Banff Centre for the Arts (Alberta), the Festival de Limoges (France), Teatro della Limonaia (Florence) and Teatro d’Argot (Rome). He is an Officer of the Order of Canada and Knight of the National Order of Quebec.

Buddies in Bad Times Theatre presents

Tom At The Farm

by Michel Marc Bouchardtranslation by Linda Gaboriau
directed by Eda Holmesstarring Christine Horne, Jeff Irving, & Jeff Lillico set design Camellia Koocostume design Michael Gianfrancesco
lighting design Rebecca Picherack
sound design John Gzowski
Previews: April 11, 12, 14, & 15

Opening Night: April 16 | Closing Night: May 10

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

Tickets: $20 - $25 until April 10 | Regular Price: PWYC - $37

Box Office 416-975-8555 or buddiesinbadtimes.com

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

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Established in 1979, Buddies in Bad Times Theatre is Toronto’s leading destination for artistically-rigorous, alternative theatre and a world leader in developing queer voices and stories for the stage. Over the course of its history, it has evolved into the largest facility-based queer theatre company in the world and has made an unparalleled contribution to the recognition and acceptance of queer lives in Canada.

DANCEWORKS AT HARBOURFRONT - NEXT STEPS - SYLVAIN EMARD

Sylvain Émard Danse

Ce n’est pas la fin du monde 
(It’s not the end of the world)

   

Imagine snippets of Agnes de Mille’s Rodeo, meets the gang in West Side Story, meets an episode of the current HBO series Looking on a stormy night in an unspecified locale - replete with an original score by Martin Tetreault, powerfully eclectic choreography by Sylvain Emard, and ready to wear butch/casual costumes by Denis Lavoie. 

The current Danceworks offering, as part of the Harbourfront Next Steps series, is a sixty minute tour de force giving spectators seven male dancers on a stark, beautifully lit stage (lighting by Andre Rioux) as they explore varied movement and layered camaraderie with full and furious abandon, elegant finesse, and sprigs of titillating tease.    

There is a moment near the beginning of the piece when a perhaps unconsciously citational choreographic gesture references a brief moment of equine movement as the septet of casually dressed men gallop across the stage in a line that is at once humourous, celebratory, and hilariously horsey. This fleeting segment re-occurs in varied form as moments of pure whimsy and physical play surface in the midst of other less referential acts that excel with absolute precision, skill, and narrative gravitas. 

There are complex solo, dual, and group turns that defy the gravity of limbs through an array of beautifully enigmatic flexibility. One dancer takes centre stage at one point, in a gorgeous block of glaring light, gesticulating his way in and out of forceful fanciful moving vignettes of physical prowess - ultimately taking him out of the light, and yet somehow retaining the illuminating qualities he has just shared within this box of breathtaking agility and nuance. We follow his body into the shadows while light still stands as the former site of his absorbing presence.

And when these seven men come together in a line, fleeing in unison toward the edge of the stage from a series of complex couplings, they do so with such  convincing choreographic acumen, speed, and commitment that their relationships defy specific definitional import. But the intimation of same sex coupling is still there, and becomes, within a split second of physical connection - the movement of one arm or the twist and turn of a leg toward a partners masculine connective muscle and tissue - a magical and everyday realm of male bonding that resists any specific form of sexuality. Like run-on sentences, they never end, making simultaneous sense and 'non' sense in a single choreographic clause.

The deceptively absorbing choice of casual clothing by Denis Lavoie, at times colourful and evocative - and only slightly distracting - emerges as legs and torsos are draped in the non defining lines of somewhat loose shirts and relatively shapeless trousers. This allows body parts to fade subtly into disheveled shrouds of non sinewy, body moulding raiment. One may long for tightly defined contours that move with titillating force through the soundscape and the diverse choreography. And yet, ultimately, Lavoie's somewhat 'fashion'less' choice highlights the ordinary aspect of a masculine ensemble arranged in unselfconscious daywear, giving them the opportunity  to simply breathe life into what Danceworks curator Mimi Beck (program note) refers to as a “focus on seven male dancers navigating a world of unremitting demands.” 

Facing themselves, each other, and their audience with “total commitment, immense power, and absolute grace [through] frantic gestures, heartfelt solos, and supportive partnering” (program) renders the overall experience a brilliant and engaging hour of provocative and compelling dance that, like its title, re-assures the viewer over and over again, with compelingly gendered prowess, that this is not the end of the world. 
______________________________

"Québec’s award-winning choreographer, Sylvain Émard of Sylvain Émard Danse, brings the critically acclaimed Ce n’est pas la fin du monde (It’s not the end of the world) featuring seven male dancers in a ritual of resistance and adaptation to the passing of time. Driven by doubt and a lust for life, they are searching for their place, sketching the contours of multiple identities. Carried away by their instincts and the power of the group, their only language is subtle, energetic movement, the music of bodies electrified by a shared feeling of urgency. Dance seems to be the best means of coming to terms with the world and of being transformed, the better to blend in. Says Émard 'If, as Madame de Staël wrote, ‘the pagans have deified life’, then this is pagan dance.' "  http://www.harbourfrontcentre.com/nextsteps/danceworks-3/

DanceWorks presents Sylvain Émard Danse’s

Ce n’est pas la fin du monde

as part of Harbourfront Centre’s NextSteps

Choreographed by Sylvain Émard

 Saturday, February 28, 2015 at 8pm

Harbourfront Centre’s Fleck Dance Theatre, 207 Queens Quay West, Toronto, ON M5J 1A7

 Tickets: $28 - $37 Adult; $15 CultureBreak (under 25); Discounts for seniors, students and groups.

let me count the ways...

How do I love thee?  Let me count the ways.


I love thee to the depth and breadth and height


My soul can reach, when feeling out of sight


For the ends of Being and ideal Grace.


I love thee to the level of everyday’s


Most quiet need, by sun and candlelight.


I love thee freely, as men strive for Right;


I love thee purely, as they turn from Praise.


I love thee with the passion put to use


In my old griefs, and with my childhood’s faith.


I love thee with a love I seemed to lose


With my lost saints,—I love thee with the breath,


Smiles, tears, of all my life!—and, if God choose,


I shall but love thee better after death.

sonnett XLIII 

from Sonnets from the Portuguese

by Elizabeth Barrett Browning

In a world of spoken word, performance poetry, storytelling, slam poetry, hip hop, rap and countless other literary and musical genres that take the alphabet and turn it into something simultaneously visceral, elegant, and glorious, we sometimes lose the sense of poetry from other eras as something that was always meant to be heard and performed - even if that act of aural performance is an event we only experience in our heads.

The current Canadian Rep Theatre production of Florence Gibson MacDonald's How do I love thee? - at the Berkeley Street Theatre Upstairs - provides audiences with a wonderful aural and visual experience as two infamous poet/lovers are brought to the stage to recite their lives in beautiful dialogue and haunting verse.

When Irene Poole, as Elizabeth Barrett Browning recites How do I love thee, she delivers it with such simplicity and grace that it moves beyond the measured sonnet form and into a kind of eloquent,  passionate, and insular conversation with her lover and her audience. Joined by a remarkable ensemble, with Matthew Edison as Robert Browning, Nora McLellan as Wilson, and David Schurmann as John, this brilliant quartet assemble a beautiful 'spoken-word' play that chronicles the troubled lives of these famous English poets.

Barrett Browning was the first woman to be nominated for the position of poet laureate in England and lost out to Tennyson. But her work lives on with as much power and magnitude as any of the Victorian poets we still cherish today. Other aspects of Brownings life are examined as we discover her interest in genderless culture when she speaks of her young sons hair and clothing, defnding the child's appearance against his fathers wishes to see him dressed more like a boy.

On a 'higher' note, Elizabeth's dependence on drugs such as laudanum and morphine become a discourse around the timeworn notion that artists need inspriation in whatever way they can ifnd it - and when they find it in mood enhancing substance does that become a thwarted sense of their true identity as people and as poets? Florence Gibson MacDonald gives no easy answers as she captures the volatile and profound romantic bond between the couple during their time in Italy in the mid 1800's. In How do I love thee? all poetic writing, however fictional, becomes, in part, a version of the struggles felt by the poets in their daily lives.

Nora McLellan as Barrett Brownings servant brings a strong, biting, and engaing subservience to the role of Wilson - all the time making one wonder how this intense level of devotion found its way to a poet's work that she claimed to barely understand - but she defended her mistresses poetry to the death.

David Schurmann's understated performance as John culminates in a very subtle and moving expression of same sex desire that moves the overall piece into contemporary thought around the taboos surrounding platonic devotion and romantic inter-generational love. 

Sets by Shawn Kerwin produce a grand meta-theatrical tone at the outset - with vertical sections of beautiful  flowing trunk-like forms, fashioned from shaped fabric from floor to ceiling - providing separate playing spaces for the action to dramatically unfold within. Orignal music and sound design by Wayne Kelso punctuates and enhances the succession of scenes, giving the events a nostalgic cinematic tone that moves the players through time and space with elegance, majesty, and intrigue.

It is no small feat to take romantic poetry from another era and put it on stage in an effective and theatrical manner. Ken Gass has directed his cast with bold strokes and daring declamatory poses that take some getting used to in act one, but - for the most part - are carried out beautifully throughout as Matthew Edison and Irene Poole give us a glimpse of what it might have been like to be - respectively (and in no particlulr order) - high, in love, in conflict, and able to write poetry whenever the spirit moved you in the bright Italian sun during difficult social and poltical times. 

SCRIPT AVAILABLE FROM PLAYWRIGHTS CANADA PRESS

Barrett Browning's polticial leanings are also highlighted throughout, to the distress of her frequently grumpy and economically concerned life partner Robert. Lizzie's drugs were expensive! But she rises above her dependencies, carves out a career of her own, and gives the female agency of the play a dominant positon as she grapples with the male power structures that may have steered the times, but did not survive wihtout the passion, the profound social innovation, artistic output, and creative genius of Elizabeth Barrett Browning herself.

HOW DO I LOVE THEE 
RUNS AT THE BERKELEY STREET THEATRE UPSTAIRS 
UNTIL FEBRUARY 22ND

WAITING ROOM

   WAITING ROOM

Ari Cohen, Jenny Young, Warona Setshwaelo  

photos by Cylla von Tiedemann

Anyone who has spent time in a hospital waiting room, knowing that the next words you hear from a doctor could be cause for celebration or heartbreak, can relate to the powerful plot lines and unforgettable characters created by Diane Flacks in her new play currently running at Tarragon Theatre. Waiting Room is a proverbial roller coaster of emotion that tackles very difficult and challenging questions about medical ethics, gender relations, and conflicted intimacies in the workplace. 

Flacks has woven two major relationships into a single script, and if that was not enough to take on, she has laced the narrative with even more thematic elements including female genital mutilation, Alzheimer's, and Cancer. Director Richard Greenblatt takes this deftly written, plot heavy drama, and presents a powerful, tightly packed series of inter-connected scenes. A succession of fraught encounters lay out basic information and depict the actual experience of waiting, wondering, and hoping against all hope that there will be a happy ending for someone. Caught in the web of varied humanity that passes through any given waiting room over the course of a tumultuous and painful life process, six characters attempt to flesh out their concerns and motivations without quite enough time for any of them to be fully realized with the breadth these very serious subjects require.

The candid humour and frequent one-liner repartee that Flacks has immense talent for relieves the dominant gravitas of this two hour drama, and reveals her great skill for complex story and character creation. And yet there are times when the many intersecting scenes feel more suited to a televised mini series on HBO, or a film, where the depth of each story can be interrogated further. Some of the decisions made by the medical staff seem rushed and over loaded with personal connections that do not have enough time to breathe over the course of two acts. 

Performances by Ari Cohen, Michelle Monteith, Jane Spidell, Jordan Pettle, Jenny Young, and Warona Setshwaelo are consistently strong and well developed, with standout emotional moments for Pettle and Monteith nearing the end of the play. Cohen has a particularly challenging role to fill as he runs the gamut from cold, authoritarian patriarch to Alzheimer's victim, without enough time to fully examine or satisfy his single-minded take on life, death, and the  complex role of medical intervention. His range is impressive, and frequently bittersweet, as he grapples with mortality in a simultaneously composed, manic, and manly manner.

Michelle Monteith's portrayal of the grieving mother is passionate and layered
and marks the ending with a cathartic, much needed explosion and reprieve.
Jordan Pettle, as the well-meaning yet emotionally fraught father searching for hope in the midst of despair, gives a highly charged performance that never detracts from Monteith's pivotal role as the maternal force connected to her child in a way Pettle's character can never fully experience. The gender balance in the play often tips toward the women as complex nurturing characters in conflict with their matter of fact, frequently antagonistic male cohorts, providing yet another thematic strain that raises questions about traditional male/female heteronormative conjugal conflicts.

Jane Spidell, as a key secondary character, is a lively, brash, and thoroughly engaging presence as she represents an external through line for the suffering parents of a sick child. But her story seems, at times, under developed and unclear due to the formidable scope the playwright has taken on. Flacks has a mighty project here that could do well as a major film or television project akin to Bloodletting and Miraculous Cures, the televised medical drama based on Vincent Lam's acclaimed short story collection. 

Jane Spidell & Ari Cohen

Warona Setshwaelo's performance is a worthy and well crafted foil to Cohen's faltering masculine prowess. But her character construction falls prey to the plot excess of multi-storylines, and never fully develops. This may be part and parcel of the experience of being in a waiting room and connecting briefly with people one doesn't know very well - people who will be relaying an abundance of dense, difficult medical information under very stressful circumstances. We depend on them for help and vital information but we barely know them. Flacks handles the dialogue and information very well, and yet one wonders whether some of the characters become somewhat tokenistic due to time/narrative constraints.

Jenny Young as a medical practitioner compromised by intimacy in the workplace delivers a strong guarded performance that suits the tense, torn persona of a strong woman in love with a weakening man. She gives her character both integrity and grace as she goes through the motions of making devastating decisions for someone not in the habit of taking life-altering advice from anyone.

As it stands, as live drama, Waiting Room is a powerful and moving look at illness and coping strategies, and raises many thought provoking questions about the quality of life and death in surprisingly entertaining ways. But at the end of the day, and the end of the play, one may feel that they have missed out on the essence of sitting and waiting and hoping - and waiting and waiting and hoping and hoping and hoping - that the very unique and painful experience of a hospital waiting room actually brings to one's life. 
This multi-storied script tackles diversity of experience through it's site-specific title and it's primary concerns. But it sometimes misses the frequently quirky essence of the quick, sorrowful, at times awkward - even hostile - connections that often occur between perfect strangers who become intimately connected for brief encounters when the lives of their loved ones are hanging in the balance. This kind of interaction could be material for another play, another film, another televised episode - and yet it seems to lie buried somewhere at the heart of Diane Flack's very  poignant drama.

Jordan Pettle, Ari Cohen, Michelle Monteith

WAITING ROOM RUNS 
AT TARRAGON THEATRE 
UNTIL FEBRUARY 15TH

Lungs

The current re-mount of Duncan MacMillan's Lungs is seventy-five minute tour de force featuring two powerful performers delivering a timely script that is both entertaining and bleak. Rapid fire dialogue that races through the lives of a heterosexual couple, leaving no room for breaks between huge leaps in time, instills the overall piece with a semi-surreal, serio-comic time lapse rhythm that perhaps unintentionally mocks the rigid patterns of a largely dominant social phenomenon - heteronormativity. In 2015, this particular socio-sexual identity may seem a little non-inclusive given the advent of same-sex marriage and the children of same-sex parents. And yet, the power of the script still shines through in the hands of director Weyni Mengesha. Mengesha's very sure-footed, direct approach, set beautifully on Ken Mackenzie's simpified stage, gives Lesley Faulkner as W and Brendan Gall as M (Woman and Man?) the emotional and physical space to comically, and dramatically, inhabit an empty IKEA like show room space with a complex and moving algility, ranging from fleeting non-graphic pseiudo-sex scenes to phsyclaized dialogue that might have become wordy and monotonous in the hands of less skilled artists. A brief IKEA reference highlights the overall sense of a global approach to emotional attachment and home decor as packaged commodities that line the simultaneously pristine and jam-packed aisles of  the popular home-furnishing store. 

As Faulkner and Gall move through the very predictable motions of love, romance, career, marriage, and the ever present question of whether the planet is in any shape to be sustaining more newborns, one cannot help but consider how close we currently are to a very different world when it comes to humanity. Are we already there? Is the apocalypse upon us? Do we continue to carry on as if we in fact do not live in a world without much hope for a civilized and sustainable future?

But there is some hope in this powerful and moving script, brought to life with elements of humour, love, and profound life questions. The hope, however, is necessarily fraught with very real connections to the actual conditions we are living under in 2015, and at the end of seventy-five minutes this spectator, although  impressed and entertained by a riveting piece of thought-provoking theatre, was happy to leave the play with reminders of what he was already aware of from watching the news - as he continues to experience, enjoy, and grapple with what's left of the planet - while  there's still time.

photos by Cylla von Tiedemann

Lungs runs at Tarragon Theatre 

until January 25th

Lungs

SEXTET

Six musicians are stranded by a blizzard in their motel with only their instruments, each other and their secrets to keep them warm. Where will everyone sleep when everyone is sleeping with everyone else? Underscored by their struggles to come to terms with their failing careers, failing marriages and unfulfilled desires, the sextet tries to make a set-list for a show that they know won’t happen. How long can they keep their composure before everything they’ve kept hidden comes into play?

                                                                     Tarragon website

Music has long been considered beneficial in enhancing performance and cognitive skills … more recently music has even been shown to strengthen the immune system and bring back memory loss to the elderly…

sex; which aside from its obvious benefits, can produce… complete dysfunction, confused brain activity, and even, quite possibly, a compromised immune system…

It seemed only natural, then, to put these two types of human experience together into one piece. After all, both take practice.

                                          

                                                         Morris Panych - Director's Notes                                                                                                      

   photos by  Cylla von Tiedemann  set & costumes by Ken MacDonald

Arnold Schoenberg’s works were classified as degenerate music by Nazi Germany. As a touchstone for his latest play, Sextet, Morris Panych has used references to Schoenberg’s compositions in order to create a complex analogy to fleeting, at times atonal episodes in an ordinary motel, comprised by many fleeting moments, making up six separate - fleeting - lives. 

Damien Atkins & Bruce Dow

What starts out as a light comedy, reminiscent of the quick, urbane repartee one finds in Noel Coward’s Private Lives, the lives of six stranded musicians become anything but private in this ninety-minute tour de force.

A powerful ensemble delivers the rapid-fire dialogue of the opening scenes with impeccable timing and characterization, and then they move seamlessly and gradually into a very layered and dramatic ending that both enlightens and provokes through a touching meditation on the sex-capades of a half dozen very distinct personalities.

Bruce Dow & Rebecca Northan

Jordan Pettle as Otto gives an authoritarian tone to his character and manages a complex relationship to love and heteronoramtive provocation with a fine sense of both comedy and parodic sincerity. Bruce Dow as Gerrard, as the omni-sexual monk-like figure, presides over all of the erotic antics with a beautiful bumbling sense of the serene and the silly. His frequently gender bent costumes, at one point described by Gerrard as non-dress-like, are decidedly dress-like, and beautifully conceived by designer Ken MacDonald. MacDonald’s engaging set gives the overall playing space a farcical feel from the outset, and well serves Morris Panych’s tightly woven script and direction as these kooky lovelorn characters cavort in confusing and comical contortions from room to room to room to room to room to room…

Laura Condlln & Damien Atkins

Laura Condlln as Sylvia is a wonderful blend of sincerity and muddled reserve as she becomes a calmly anxious conduit for forms of sexuality and sensual camaraderie no one seems to fully understand, both on and off the stage. Matthew Edison as Dirk plays the charming and sexy ‘het’ male whose self-assured, yet alarmingly nerve-racking het ‘ness’ flips in and out of farcical triangles that aid in bringing all of the characters together in complicated ways. Rebecca Northan’s Mavis, as Gerrard’s scheming wife, brings a strong self-assured, nun-like quality to her decidedly non nun-like behaviour as she becomes the through line to the final complexity of this very procreative text.

Having very little knowledge of Catholicism myself, I was told after the play ended by my theatre companion that evening that St. Gerrard is the patron saint of expectant mothers, thus a suitable partner to Mavis’s sexually active maternally motivated maneuvers through the lives of five unsuspecting musicians. 

Jordan Pettle & Laura Condlln

Perhaps the performance that brings it all together, as a kind of queer cohesive faintly harmonizing strategy, is the marginalized gay character, Harry - played by Damien Atkins with a powerful movement from lighthearted farcical tones to a commanding narrator like presence at the end. With a kind of hapless Harry stock quality, Atkins gives the overall piece a kind of passive, sexually hesitant aggression and blustery charm that achieves both comedy and pathos in a single sentence, a single movement across the stage. His star turns range from concealed full frontal encounters with his secret paramour, to frigid camaraderie in a blizzard-drenched parking lot. Atkin’s layered stage presence drives home all of the playwright’s central metaphors around music, sex, and art - and the hateful degeneracy that certain historical movements have imposed upon identity, sexuality, and self-expression. By the end of the play music and sex become one glorious mismatched conundrum that the current Tarragon ensemble for this premiere production have crafted into a beautiful and engaging composition.

SEXTET RUNS AT TARRAGON THEATRE UNTIL DECEMBER 14TH