Talisman Theatre

It’s a terrible thing to watch a mind go to waste. Yet Pierre-Michel Tremblay’s Coma Unplugged makes it so infectiously fun. Talisman Theatre’s latest production is proof that when you mix a sharply written script with a cast whose energy knows no bounds, magic occurs.

The play, translated into English by Micheline Chevrier and directed by Zach Fraser, is set somewhere in a no-man’s-land between the protagonist’s apartment and his psychosis-fuelled imagination. Daniel (Eloi ArchamBaudoin) is a recent divorcee, and is therefore “coping.” Thanks to his particular mixture of child-like hyperactivity and a pensioner’s cynicism, watching him cope is particularly uproarious. Characters materialize and vanish from the creatively porous set just as flights of imagination do in a mind, and the audience is never really sure what, if anything, is grounded in reality. Is Marjorie (Glenda Braganza) really the antagonizing ex-wife coming over to berate Daniel, or is she that even bigger nag, his own guilty conscience?

This is a question that Tremblay’s zany yet contemplative script only hints at answering. Much of the show is a whirlwind of one-liners and off-kilter humour, with room even for a guest-starring role by Stephen Hawking, who imparts some timely wisdom: “It’s more important to be comical than astronomical.” It’s advice not to be taken lightly, since the script is strongest and most effective when it sticks to humour and humanity, and not during its occasional strays into socio-historical commentary. Kudos, however, to Chevrier, for the unenviable task of translating the plethora of cultural references to a non-Quebecois audience, and doing so effectively.

The script also served ArchamBaudoin particularly well. From his twitching, writhing entrance, ArchamBaudoin took to his role with electrifying animation and eclectic physicality, crafting an endearing sentiment out of a character that would have inspired mild annoyance in the hands of a less skilled actor. As Daniel’s inner warrior Ishouad, Chimwemwe Miller also had particularly effective moments of well-timed and well-executed physical comedy. Donovan Reiter, as macho-man Roger, had the best delivery, with full-bodied articulation that didn’t step on the subtleties.

Regrettably, the play’s frenzied pace was not sustained for the entire duration, which was particularly noticeable during the scene with Daniel’s mother, Madeleine (Susan Glover). Glover’s performance was formidable, but did not rise to an energy level on par with that of the rest of the cast. On the other hand, the rapidity with which the play moved meant that not everything worked perfectly; at the performance I attended a woman was intimately introduced to a projectile prop. The first third of the script also relied heavily upon repetition for humour, to diminished effect.

The technical aspects, led by Kaileigh Krysztofiak, showcased impressive talent and creativity, especially in consideration of the intimate space available. Matthew Waddell’s sound design displayed an appropriate variety and was crucial in conveying the narrative. Lyne Paquette’s set design was eclectic yet functional, and provided ample opportunities for humourous entrances and exits. David Perreault Ninacs’ lighting, although the small space didn’t lend itself well to subtlety, was both dynamic and effective.

Coma Unplugged makes the most out of its discombobulation. The voyage through Daniel’s fracturing mind is one fraught with side-splitting laughter and deep introspection: in other words, a perfect night out.

Coma Unplugged runs until Oct. 29 at Talisman Theatre, 4750 Henri-Julien. Visit www.talisman-theatre.com for more information.

killbeatmusic.com

It only takes two minutes talking to Jennifer Castle to feel completely mellow. The light, pure tone of her singing voice matches the soft, relaxed tone of her conversation, and clues you into her laid back, organic approach to music. Evident in her newest album, Castlemusic, Castle’s take on songwriting and performing is both honest and slightly mystical at the same time, and that’s exactly the sense one gets when interviewing her. Her answers are vague at times, but not due to any desire for secrecy. She sounds very much like she knows the feeling she wants to convey, but that it’s very important to her that she conveys exactly what she feels, because it needs to be the truth.

“Sometimes [writing a song] can be a bit of a puzzle, [but] I don’t try to push a song out,” says Castle. “The ones that were hard to write, I didn’t put on the record. I don’t really like the sound of labour.”

Castle recently signed with Calgary label Flemish Eye, which she says has been a good fit for her. She likes Alberta and the new music and artists in the area, but she maintains that she’s remained true to the core of who and what she and her music are, even amidst the new environment.

She also talks about the change from performing with other bands to performing solo, reluctant to pick a favourite. This sentiment seems prevalent within her music and outlook on life; it’s fine to observe, and reflect, but there’s no need to judge anything. Things are simply the way they are, and while certainly worth writing about, quantifying or ranking them somehow devalues the whole experience.

“[Performing solo, or in a group] is totally different. In one you have to ask everybody ‘How did it go for you?’ I always know how it went for me at the end of my show, but that collective experience is different. I enjoy them both at different times. They’re both challenging in their own ways.”

So, when asked which song off the new album was her favourite, of course she doesn’t have a quick, definite answer. After taking some time to collect her thoughts, she answers that “Neverride” isn’t her favourite, but that everyone involved with the record could tell it was something special, something to set the standard for the rest of the album.

“When we recorded ‘Neverride,’ which I think we did early on in our sessions, [it] felt like a little bit of a pearl to us all. ‘Neverride’ was like a little jewel that we had, to us it sounded special, so we aimed for that specialness throughout [the album].”

Other songs like “Way of the Crow” and “Powers” deliver the same easy listening experience, coupled with pervading messages of freedom and truth. However, the one notable outlier on Castlemusic is “Poor As Him,” which has a more upbeat, percussive feel.

“It definitely has a more rockabilly flavour to it. I mean, I didn’t name it that, but enough people have said that to me that I’m like, ‘Yeah, I guess it sounds kind of rockabilly.’ When it came time to record it, we were like, ‘Let’s just do it like that.’ I’ve played it fast and I’ve played it slow and I still play fast or slow, it just depends on where I’m at when I play it.”

Another unique aspect to Castle’s approach is her desire to keep her performances very under-rehearsed and spontaneous.

“It always just depends. That’s one of the indulgences of being a solo performer, is you can just play what you want. When I play my solo stuff with other people, I do like to change things right before we play just so that we’re all put into a position of having to listen to each other. I like that spontaneity.”

Overall, Castlemusic is perfect to kick back and relax to, but you won’t be disappointed if you take the time to actively listen to the lyrics and try to find a deeper meaning. Though Castle denies attempting to convey a distinct message with the album, that might just be its brilliance.

“To each their own,” Castle says. “Whatever happens happens when somebody listens to it.”

Jennifer Castle plays La Sala Rossa tonight, October 25th, with Chad VanGaalen. Tickets are $15 at the door.

That Iced Earth’s newest album Dystopia is nearly identical to its predecessors does not necessarily condemn it to mediocrity. The band’s leader (and sole fixture), rhythm guitarist Jon Schaffer, has been cutting songs from the same cloth for a long time, but has managed to produce a number of very enjoyable albums despite this.

Although it’s equal parts remarkable and disappointing that Dystopia, Iced Earth’s third consecutive album with a new lead singer, is interchangeable with the other two albums, there are things to be enjoyed here. To those who’ve heard them, Iced Earth presents the same familiar elements as other thrash/power metal groups: thundering double bass drums, palm-muted riffs, and an overwrought vocal delivery.

New vocalist Stu Block (formerly of Canadian group Into Eternity) gamely gives it his all, although his voice, often sounding like a mix between his two precursors’, doesn’t exactly bring anything new to the overall sound. Block at least sounds like he’s having fun; while his approach isn’t exactly nuanced, it nevertheless livens up the otherwise tepid material he’s provided with. The lyrics are rather middling; Dystopia is a concept album, and one whose subject is as self-evident as it is unoriginal.

The most dispiriting aspect of this album is that it all feels so rote; it reeks of something assembled, with each incorporated element checked off a list of metal clichés. Even though they are executed competently, it doesn’t offset how uninspired the effort is.

M83’s Anthony Gonzalez has openly admitted his obsession with 1980’s synth-pop. If he were a new wave fanboy, Hurry Up, We’re Dreaming would be his loving tribute. And although it’s labeled as a two-disc set, the album clocks in at a relatively short 73 minutes and plays nicely in one sitting. It begins with an introduction reminiscent of the opener from Van Halen’s “1984,” in which electronic keyboard is established as the fundamental musical element to be used extensively throughout the album.

Gonzalez has a flawless understanding of ‘80s vocal quirks.  The intro track’s gradual buildup, combined with guest ginger Zola Jesus’ angst, show hints of U2 and there are brief glimpses of David Gilmour’s echoed vocals on the acoustic “Wait.” On “Claudia Lewis,” he evokes Peter Gabriel’s strained high notes to absolute perfection.

The album’s celestial atmosphere holds strong throughout the bulk of the material, but it probably could have been just as satisfying if it spared its brief instrumental tracks. Having these occasional interruptions reinforces the cosmic vibe of the record, but it would have functioned just as seamlessly and sounded even more focused if it were trimmed to a single disc.

Hurry Up, We’re Dreaming is a dazzling interpretation of old styles. If M83’s influence normally rests among 18-24 year olds, imagine how clearly this type of album will resonate to those outside the university demographic.

 Webster’s English Dictionary should go ahead and put the album art for Audio, Video, Disco beside the definition of sophomore slump. The first album from the French electrohouse duo, †, was just about perfect in every regard. However, Gaspard Augé and Xavier de Rosnay took many of its positive aspects and threw them out the window. De Rosnay couldn’t have put it better when he explained that Audio, Video, Disco is daytime music and not as aggressive as the first album. Unfortunately for Justice, most of their fans sleep during the day.

The album starts off strong; the first two tracks, “Horsepower” and the single “Civilization” are bangers which wouldn’t be out of place on †. However, what follows is a hodgepodge of gospel-infused, disco-house music, which is about as polished as a third grade finger painting. The sound resembles a cross between the Justice we used to know and Steve Vai. Additionally, the transitions are full stops, entirely interrupting any flow on the album.

There are a couple of tracks which succeed with the new style. “On’n’On” features a strong bass line complemented by a subtle treble harmony, and the title track is a soothing walk through Justice’s new direction.

One redeeming factor is the inclusion of “Planisphere,” a single the band released on MySpace in 2008. It’s a welcome window into what Justice used to be: dirty bass lines perfectly contrasted with vocals and treble twangs. But Audio, Video, Disco just doesn’t do the band justice.

Hollywood seems to be lacking in original ideas. If they can’t revamp an older movie and call it a prequel they turn to books for inspiration, to varying degrees of success. The remake of Alexandre Dumas’ The Three Musketeers is one of the better efforts. It walks the fine line between cheesy and awesome, and though the schmaltz sometimes wins out, it doesn’t detract from the heroic, feel-good dynamic of the story. It also manages to revitalize a classic tale of heroism and fighting for what is right.

The writers can be credited with sticking to the original plot. Young D’Artagnan (Logan Lerman) travels to Paris to join the now retired Musketeers: Athos (Matthew MacFadyen), Porthos (Ray Stevenson), and Aramis (Luke Evans). Together they must foil an attempt to start a war between Britain and France, ignited by the crooked Cardinal Richelieu (Christoph Waltz) by retrieving the young Queen’s necklace from the Duke of Buckingham’s (Orlando Bloom) personal vault in the Tower of London.

The plot is rather straightforward, but its simplicity allows for a rabble-rousing hour-and-a-half of explosions, fencing duels, and flying ships to take over your imagination with little resistance. The steampunk universe is one of a corrupt cardinal ruling through a young, naïve, and love-struck king, where the villains wear black and war is fought on Da Vinci’s secret war machines. It’s reminiscent of the Sherlock Holmes remake, and that’s not a bad thing.

The film reaches a happy medium in employing 3D technology for both depth and texture, and its more classic use of simulating objects flying directly towards your face. The most striking part of this film is the mise-en-scene, and having these elaborate, gilded sets, which look like Renaissance tableaus, brought to life is fantastic. Coupled with flying cannon fodder and fire pouring out of flying ships, the 3D really works.

What’s more, Paul Haslinger’s original score is fantastic, taking the intensity of a full orchestra and fitting it to the silver screen. The battle scenes are tense and the music swells and falls at all the right places. It’s enough to carry you through the movie if you let yourself get wrapped up in it.

The movie is simply a thinly veiled coming-of-age story where love eventually conquers and virtue is rewarded, but what’s wrong with that? It’s an archetype that works, and the characters are classic heroes that are complemented by the knee-slap humour and epic battles on rooftops.

Overall, for such a light-hearted flick, it manages to successfully address one of the biggest challenges faced by movies: the translation of book to film, especially one with as much history and influence as The Three Musketeers. This movie manages to be a brand new film about a story that’s already been told, and that’s impressive considering all the disasters we’ve seen before.