My Mother’s Lesbian Jewish Wiccan Wedding by David Hein & Irene Carl Sankoff as performed by Winnipeg Studio Theatre at the Tom Hendry Warehouse, May 10, 2012
Reviewed By Stephanie Adamov
Equality. Civil Rights. Religion.
Winnipeg Studio Theatre’s production of My Mother’s Lesbian Jewish Wiccan Wedding, is a tongue twister of a title aimed to create a mouthful of intense conversation. Written and performed by David Hein and Irene Sankoff, the Canadian musical is about “hot lesbian action… and my mom”.
Work as a floral consultant has given me a chance to witness nuptial wishes and woes. Clocking in six years at Winnipeg’s Broadway Florists, during wedding high season, we are very familiar with matrimonial mayhem. Integrating floral imagery and careful placement of symbols in arrangements are some of the subtle ways we collaborate with both families… and the couple. Especially if those who are getting married come from diverse traditions, we have conversations and negotiations about how these will be equally represented.
As singers, songwriters, playwrights and advocates, the two playwrights David Hein and Irene Sankoff have mounted this dynamic production across North America with the assistance of Mirvish productions. Since 2009, this Canadian musical has received numerous awards including “Most Promising New Musical” at the New York Musical Theatre Festival awards.
The chorus line; photo by Leif Norman
Autobiographical in presentation, David Hein strums his guitar with the band under the musical direction of Paul De Gurse and sings with the cast about his beloved mother Claire, reflecting on her journey of self-discovery. After divorcing David’s father, Claire leaves Saskatchewan to settle in the nation’s capital. There, she meets Jane, a wonderful Wiccan. Quickly, the two grow close. Tilting focus, the play now recognizes new challenges with Claire’s personal transformation. Gay marriage has yet to be legalized, and her sexuality is recognized gradually by her son, ex-husband and her denying mother.
Director Kayla Gordon brings this unique Canadian musical home to the prairies for the first time. Working in tandem with the playwrights David Hein, Irene Sankoff and Winnipeg choreographer Brenda Gorlick, the musical is lighthearted and open-minded.
Annabel Kershaw and Rosemary Doyle achieve beautiful chemistry on stage as Claire and Jane. Though seldom subtle, Doyle is quick to capitalize on comedic moments, especially when first meeting Irene Sankoff (playing herself). After small talk runs dry, she interrogates Irene about birth control and informs Irene that “you don’t need a penis for pleasure” in the song titled “Romance 101.”
David Hein as narrator, musician and actor exhibits a wonderful passion and support for the production and genuine love for his moms. Inserting his personal opinion and providing realistic and naive experiences such as unknowingly inviting his mom and her girlfriend to a newly opened Hooters restaurant, triggered many laughs from the audience.
The play tended to shape-shift in plot slightly throughout the show. Bite-sized autobiographical scenes in sequence did move the show fairly quickly along. At times it was thin in conflict as some tensions immediately resolved themselves without enough dialogue. Prancing chorus members changed from pilots, protestors, to party guests. The lighthearted approach to the piece could have potentially diluted the overriding message that every human being has a right to love, liberty and respect.
The climax of marriage; photo by Leif Norman
However the song “A Short History of Gay Marriage” placed in the middle of the show left few dry eyes. Passionate advocates emerged and were confronted with national legislation. Their protest? Legalize love. “Gay, Straight, Black, White, Marriage is a civil right!” repeated from the chorus with much vigour and it evoked a very emotional audience response.
A powerful collage of historical images of the late Pierre Trudeau and Harvey Milk and the contemporary Ellen DeGeneres, together with footage from gay rights protests in the past generated vibrant docu-theatre. The energy developed during this piece could have been reprised for greater effect.
Interjecting Canadian references, leaders and accomplishments brings Canada prominently to the international stage on this human rights’ issue. Educational and charismatic, the play MMLJWW reminds Canadians of the historical precedent in being one of the first five countries in the world to legalize same sex marriage. It simply reminds audiences of our nation’s role in upholding human rights.
My Mother’s Lesbian Jewish Wiccan Wedding by David Hein & Irene Carl Sankoff, presented by Winnipeg Studio Theatre. Runs until May 20, 2012 at the Tom Hendry Warehouse Theatre, 140 Rupert Ave., Winnipeg MB
The Song and Dance of Equal Rights
Columns
My Mother’s Lesbian Jewish Wiccan Wedding by David Hein & Irene Carl Sankoff as performed by Winnipeg Studio Theatre at the Tom Hendry Warehouse, May 10, 2012
Reviewed By Stephanie Adamov
Equality. Civil Rights. Religion.
Winnipeg Studio Theatre’s production of My Mother’s Lesbian Jewish Wiccan Wedding, is a tongue twister of a title aimed to create a mouthful of intense conversation. Written and performed by David Hein and Irene Sankoff, the Canadian musical is about “hot lesbian action… and my mom”.
Work as a floral consultant has given me a chance to witness nuptial wishes and woes. Clocking in six years at Winnipeg’s Broadway Florists, during wedding high season, we are very familiar with matrimonial mayhem. Integrating floral imagery and careful placement of symbols in arrangements are some of the subtle ways we collaborate with both families… and the couple. Especially if those who are getting married come from diverse traditions, we have conversations and negotiations about how these will be equally represented.
As singers, songwriters, playwrights and advocates, the two playwrights David Hein and Irene Sankoff have mounted this dynamic production across North America with the assistance of Mirvish productions. Since 2009, this Canadian musical has received numerous awards including “Most Promising New Musical” at the New York Musical Theatre Festival awards.
The chorus line; photo by Leif Norman
Autobiographical in presentation, David Hein strums his guitar with the band under the musical direction of Paul De Gurse and sings with the cast about his beloved mother Claire, reflecting on her journey of self-discovery. After divorcing David’s father, Claire leaves Saskatchewan to settle in the nation’s capital. There, she meets Jane, a wonderful Wiccan. Quickly, the two grow close. Tilting focus, the play now recognizes new challenges with Claire’s personal transformation. Gay marriage has yet to be legalized, and her sexuality is recognized gradually by her son, ex-husband and her denying mother.
Director Kayla Gordon brings this unique Canadian musical home to the prairies for the first time. Working in tandem with the playwrights David Hein, Irene Sankoff and Winnipeg choreographer Brenda Gorlick, the musical is lighthearted and open-minded.
Annabel Kershaw and Rosemary Doyle achieve beautiful chemistry on stage as Claire and Jane. Though seldom subtle, Doyle is quick to capitalize on comedic moments, especially when first meeting Irene Sankoff (playing herself). After small talk runs dry, she interrogates Irene about birth control and informs Irene that “you don’t need a penis for pleasure” in the song titled “Romance 101.”
David Hein as narrator, musician and actor exhibits a wonderful passion and support for the production and genuine love for his moms. Inserting his personal opinion and providing realistic and naive experiences such as unknowingly inviting his mom and her girlfriend to a newly opened Hooters restaurant, triggered many laughs from the audience.
The play tended to shape-shift in plot slightly throughout the show. Bite-sized autobiographical scenes in sequence did move the show fairly quickly along. At times it was thin in conflict as some tensions immediately resolved themselves without enough dialogue. Prancing chorus members changed from pilots, protestors, to party guests. The lighthearted approach to the piece could have potentially diluted the overriding message that every human being has a right to love, liberty and respect.
The climax of marriage; photo by Leif Norman
However the song “A Short History of Gay Marriage” placed in the middle of the show left few dry eyes. Passionate advocates emerged and were confronted with national legislation. Their protest? Legalize love. “Gay, Straight, Black, White, Marriage is a civil right!” repeated from the chorus with much vigour and it evoked a very emotional audience response.
A powerful collage of historical images of the late Pierre Trudeau and Harvey Milk and the contemporary Ellen DeGeneres, together with footage from gay rights protests in the past generated vibrant docu-theatre. The energy developed during this piece could have been reprised for greater effect.
Interjecting Canadian references, leaders and accomplishments brings Canada prominently to the international stage on this human rights’ issue. Educational and charismatic, the play MMLJWW reminds Canadians of the historical precedent in being one of the first five countries in the world to legalize same sex marriage. It simply reminds audiences of our nation’s role in upholding human rights.
My Mother’s Lesbian Jewish Wiccan Wedding by David Hein & Irene Carl Sankoff, presented by Winnipeg Studio Theatre. Runs until May 20, 2012 at the Tom Hendry Warehouse Theatre, 140 Rupert Ave., Winnipeg MB