{"id":96030,"date":"2023-05-01T14:09:44","date_gmt":"2023-05-01T18:09:44","guid":{"rendered":"https:\/\/www.ludwig-van.com\/toronto\/?p=96030"},"modified":"2023-05-01T14:09:44","modified_gmt":"2023-05-01T18:09:44","slug":"scrutiny-theatrical-second-comings-land-acknowledgement-behind-moon","status":"publish","type":"post","link":"https:\/\/www.ludwig-van.com\/toronto\/2023\/05\/01\/scrutiny-theatrical-second-comings-land-acknowledgement-behind-moon\/","title":{"rendered":"SCRUTINY | Theatrical Second Comings: The Land Acknowledgement & Behind The Moon"},"content":{"rendered":"
\"L-R:
L-R: Ali Kazmi and Vik Sahay in Behind the Moon (Photo: Cylla von Tiedemann); Cliff Cardinal (Photo: Dahlia Katz)<\/figcaption><\/figure>\n

Two highly regarded plays are enjoying a second life after their initial theatrical run.<\/p>\n

Off-Mirvish & Crow\u2019s Theatre\/The Land Acknowledgement, or As You Like It, written and performed by Cliff Cardinal, creative co-conspiracy by Chris Abraham, CAA Theatre, May 4 to May 7. Tickets here<\/a>.<\/strong><\/em><\/p>\n

On September 30, 2021, I set out to Crow\u2019s Theatre to see a new production by talented Indigenous playwright\/performer Cliff Cardinal. It had the intriguing title, William Shakespeare\u2019s As You Like It, A Radical Retelling, and since no other actors had been listed, I was looking forward to Cardinal playing all the roles. (The publicity said that the cast would be announced each night, but I didn\u2019t believe that.)<\/p>\n

The evening began with Cardinal casually coming onto the stage with the land acknowledgement, that staple of recognition of historical Indigenous land holdings that begins all performances in all genres. About five minutes later, it began to dawn on me that this was an unusually long announcement, and a few minutes after that, I understood that what I was going to get was a lecture on the tortured relationship between Canada\u2019s Indigenous people and the Settlers who took over their land. Shakespeare was never going to figure into the mix.<\/p>\n

\"Cliff
Cliff Cardinal (Photo: Dahlia Katz)<\/figcaption><\/figure>\n

There were strong reactions to this performance. One group was furious. They felt duped. They had come to see Shakespeare, and instead got a lecture about the evils of the White people. Another group was angry because they felt that Cardinal was preaching to the choir. They were in complete sympathy with Indigenous grievances and felt that the play was aimed at the wrong audience. Despite these negatives, the play was so popular, the run had to be extended twice.<\/p>\n

By the time David Mirvish remounted the show in March of this year, the secret was out \u2014 no Shakespeare \u2014 hence the renaming of the play. This time, the audience knew what they were getting, and could appreciate the brilliance of Cardinal\u2019s reasoned arguments for what they were. Whether it was his disdain for the token land acknowledgement, his withering update on the state of reconciliation, or his searing condemnation of residential schools and the poignant reminder of all those unmarked graves, Cardinal has produced a profound and deeply moving play. No one could leave the theatre unmoved, and it became an instant sell-out.<\/p>\n

Upon seeing the show for the second time, I could better analyze Cardinal\u2019s superb performance, and what I realized even more clearly than the first time was the importance of his mocking humour, both at the Settlers and himself. His harangue is made more palatable by the laughs, and there are plenty of those. Cardinal\u2019s show is built around a charm offensive, and that\u2019s how he wins the audience over. His timing and pacing are impeccable.<\/p>\n

Now with this second coming, The Land Acknowledgement, or As You Like It is a run-don\u2019t-walk.<\/p>\n

\"Ali
Ali Kazmi and Husein Madhavji in Behind the Moon (Photo: Cylla von Tiedemann)<\/figcaption><\/figure>\n

Tarragon Theatre\/Behind the Moon, written by Anosh Irani, directed by Richard Rose, Tarragon Extra Space, now streaming to May 31. Chez Vous subscriptions here<\/a>.<\/strong><\/em><\/p>\n

Tarragon\u2019s Chez Vous subscription series allows audiences to view its entire season from the comfort of their own homes. If there is any show you should catch via Tarragon\u2019s digital streaming, it is this one. Anosh Irani\u2019s world premiere Behind the Moon is a very powerful production.<\/p>\n

At one climactic point, my inner voice was shouting, \u201cPlease don\u2019t kill him, please don\u2019t kill him!\u201d as one of the characters attacked another. That\u2019s how much this play and its characters were getting to me. That\u2019s how much I didn\u2019t want a predictable, even inevitable, bleak ending.<\/p>\n

How Irani concludes Behind the Moon, you\u2019ll have to see for yourself. Suffice it to say, that Irani has written another thought-provoking slice of life, with a little magic realism thrown in for good measure.<\/p>\n

Right from the start, you sense that Qadir Bhai (Vik Sahay) is dodgy. He is the owner of the fast food Mughlai Moon restaurant, and his treatment of his cook Ayub (Ali Kazmi) is certainly questionable. Something is clearly not right in the way Ayub cowers before his boss. His abject subservience is pathetically cringe-worthy, and so very difficult to witness. And then there is the mysterious customer Jalal (Husein Madhavji) who impacts Ayub\u2019s life in profound ways.<\/p>\n

Ayub is the main character of the play, and he gives a spectacular performance, with strong turns by his fellow actors. Behind the Moon is gilded by Richard Rose\u2019s taut, go-for-the-jugular direction, Michelle Tracey\u2019s brilliantly realistic set and costumes, and Jason Hand\u2019s surprisingly intricate lighting.<\/p>\n

This is the second play I\u2019ve seen within a year that has dealt with human trafficking, where immigrants, legal or not, are exploited by their own kind. The harrowing our place by Kanika Ambrose was set in the West Indian community, while Behind the Moon features characters who are Mughlai Moslems from Mumbai. That this modern slavery is a terrible problem within the various immigrant communities is something we all seem to know about, but appear powerless to prevent. Something has to be done.<\/p>\n

Behind the Moon grabs hold of you from the very beginning and doesn\u2019t let go until the startling ending. While it is an uncomfortable ride, the play is a must see.<\/p>\n

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