Lossen Chambers and Cavan Cunningham in Sexy Laundry, 2024; set design by Amir Ofek; costume design by Alaia Hamer; lighting design by Kyla Gardiner; photo by Moonrider Productions for the Arts Club Theatre Company
The hit play SEXY LAUNDRY, by acclaimed playwright Michele Rimi, first premiered at the Arts Club 20 years ago. Since then, it has gone on to national and international success, boasting 15 language translations and performances from Vancouver to many other countries such as Mexico and Germany. I went to opening night with my friend Tammy.
I’m sure that part of the reason for its success is that it strikes a chord for many couples; especially the ones who’ve been married for 25 years or thereabouts. Trying to put more passion into a lacklustre relationship is a relatable subject for most people. So when Alice and Henry check into a hotel for a naughty evening to rekindle their relationship, along with a copy of “sex for dummies” you get to see what a change of location, clothing and fantasy brings to the bedroom.
Photo by Moonrider Productions for the Arts Club Theatre Company
Along with some laughs comes a bit of empathy for a couple trying very hard to bring sexy back.
When life gets in the way, sex goes out the window.
The play brings both humour and compassion to an understandable and undesirable situation. However, there is a bit of a bright light, realizing that relationships can be complicated, and there’s so much more to them than only sex.
Photo by Moonrider Productions for the Arts Club Theatre CompanyTammy and I had a drink at Sandbar after the play. Lots of good places to go before or after the Arts Club at Granville Island.
Father Tartuffe: An Indigenous Misadventureis playing at the Arts ClubTheatre in Vancouver until March 24th, 2024.
Every now and again I may invite a guest reviewer on this site. Today it is Paul LeMay who I’ve asked to give his take on “Father Tartuffe” from the opening night at the Arts Club Theatre.
The arts (theatre, poetry, music, painting, sculpture, literature, dance) done with skill and imagination, are an essential part of life.
Paul’s Review:
“Father Tartuffe: An Indigenous Misadventure“ is built around a play called Tartuffe, or the Impostor, originally written by Jean-Baptiste Poquelin, who is better known as Molière. Molière, who lived during the reign of France’s King Louis XIV, is often described as France’s Shakespeare. However, unlike the Bard, Molière preferred comedic plays.
And comedy is the operant word here, which is important when one considers the times in which the play is being performed. I refer here to several world headline grabbing allegations made in recent years by certain First Nations spokespeople about the abuses and yes, possible crimes indigenous students allegedly suffered at the hands of unscrupulous clergy in Canada’s various denominational native residential schools. So, given the huge social controversy these stories sparked, what could possibly be considered comedic diving into that terrain?
And perhaps that’s the inescapable point worth mentioning here. Many of European settler ancestry might be inclined to believe this play might be all about pointing many accusatory fingers at the perpetrators of cultural genocide against first nations peoples, and the legacy of harm it unleashed in its wake. And who would want to squirm in their seats for two hours in some in unrelenting guilt fest? I have to admit, these were some of the thoughts that crossed my mind before attending the performance.
Well, I am here to tell you that’s not what indigenous playwright Herbie Barnes did. Rather, the play took a much more light-hearted aim at the immoral character of an exploitive Montreal priest by the name of Tartuffe, which was entirely in keeping with the original Molière play title. Tartuffe had been invited to live in the home of an extended first nations family, that was itself already in the process of trying to find out what it meant to be an “Indian” in 1967 Canada. Sure, in some respects one could argue that the Tartuffe character was a symbolic stand-in for the duplicitous white man who speaks with forked-tongue. But for many, that allusion might completely escape their immediate recognition.
Yet both the play, and its performers, did not disappoint. In fact, on both counts, both exceeded my original expectations; and it accomplished what it set out to accomplish, namely, to make people laugh. And laugh we did, even at jokes filled with all manner of culturally riské inuendo, that tastefully never quite crossed the line into taboo land. From my eyes, the play was part situation comedy, part farce, part inside jokes among native people, and together, the mix proved cathartic, if not, therapeutic.
And as the ancient Greeks knew long ago, this can help audience members (society’s members) both explore and release pent up guilts and/or mental tensions around almost any topic, in the hope they realize that we are all flawed individuals trying to make our way through life the best way we can…even screwing up on occasion despite our best of intentions. And this alchemy succeeds because such is the universal human condition. In this respect, this play and its performers, proved both healing and entertaining. What more can one ask of a play? In this regard, it was an evening well spent.
I saw this (previously On Broadway) Musical the other night and really, really enjoyed it. Fabulous songs we all know (or should) performed by talented actors/singers/musicians. How can anyone not love Carole King?
Unveiling the Tapestry of her life…the good, the bad, the incredible…
There’s comfort in the familiar. This is one of the least pretentious album covers of all time.
“All I needed to do was sing with conviction, speaking my truth from the heart, honestly and straightforwardly, and to offer my words, ideas and music to the audience as if it were one collective friend that I’d known for a very long time.” – Carole King
Kaylee Harwood did a superb job as Carole King. Photo: Moonrider Productions for the Arts Club Theatre Company
Carole King started out her humble beginnings as Carole Klein (she’s claimed it would take her five decades to appreciate her surname and the history that came with it) living in a Brooklyn apartment with her separated piano teacher mother, but ended up living her dream of becoming a master song writer and as we all now know; a music legend.
The pianist/song writer had a strong conviction in her ability to write great songs and enough chutzpah to walk into a music producer’s office in Manhattan with her sheet music and no appointment and ask for an audition. She was lucky. The producer happened to be there and she left getting hired on the spot to write music at the age of 15. Having already skipped two grades, she was a smart cookie and her determination paid off. She signed her first contract with ABC-Paramount that same year.
From there she grew up pretty fast.
Kirk Smith, Kaylee Harwood, Kamyar Pazandeh, and Daniela Fernandez. Photo: Moonrider Productions for the Arts Club Theatre Company.
She met lyricist Gerry Goffin while still a teenager and by the age of 20 she was a married mother of two. Together they co-wrote many singles that made it to top charts for stars like The Shirelles “Will You Still Love Me Tomorrow,” and Aretha Franklin’s (you make me feel like a) “Natural Woman.” Hope they don’t ban that song or change the words – don’t get me started! “You’ve Got a Friend” became a No. 1 hit for James Taylor and he was apparently too nervous to speak to her on the first night they met.
It was these pop standards that led John Lennon to remark that, when he and Paul McCartney first got together, they wanted to be “the Goffin-King of England.” It was those songs that were given to Randy Newman in demo form as examples of perfect writing (he has called King his hero).
“I only wanted to be a songwriter. I never wanted to be a singer. And I never wanted to be famous.” – Carole King
Ivy Charles, Dawn Pemberton, Maria Fernandes, and Ali Watson as “The Shirelles.” Photo: Moonrider Productions for the Arts Club Theatre Company.
For the purpose of this post I prefer to focus on King’s musical accomplishments and not so much on her personal life, however I should point out that she suffered some emotional abuse when Goffin couldn’t stop his cheating heart with women they knew and worked with. King tried to stick it out chalking the infidelities up to the fact that they got married so young. But there was only so much she could take and she ended up moving on.
And move on she did…
The day before Tapestry came out Carole King turned 28, by which time she had been in the music business for more than a decade. The only thing she wasn’t confident about was her own singing voice, but since the album was very personal and she wasn’t sure who she could get to sing it, she decided to do so.
Tapestry was one of my all time favourite albums and of course I’m not alone. like so many others, I knew all the words to every song . Tapestry has been certified 14× Platinum by the Recording Industry Association of America in the US, and has sold an estimated 25 million copies worldwide, making it one of the best-selling albums of all time.
Shaquan Lewis, Hal Wesley Rogers, Andrew J. Hampton, and Tenaj Williams Lynch as “The Drifters.” Photo: Moonrider Productions for the Arts Club Theatre Company.
One of her proudest accomplishments was playing Carnegie Hall in 1971.
It was the first time she played in front of a live audience with a roster that formerly included Tchaikovsky, George Gershwin, Billie Holiday, Judy Garland and The Beatles. A music-making honour roll of artists representing the finest of every genre has filled Carnegie Hall throughout the years. Carole King was now among them. It was moving when Goffin showed up and surprised her and said “I’m Sorry.”
King was inducted into the Rock and Roll Hall of Fame as a solo artist in 2021.
I highly recommend this production showcasing unforgettable classics by King and her contemporaries—“The Locomotion,” “One Fine Day,” “You’ve Lost That Lovin’ Feeling,” “Will You Love Me Tomorrow,” “(You Make Me Feel Like a) Natural Woman,” and many more.
Some cast members. Photo by Moonrider Productions for the Arts Club Theatre Company
Where is she now? Inquiring minds want to know
After moving to Los Angeles and living in Laurel Canyon for a spell, she relocated to Idaho after retiring from actively making music in 2012. Although she still attends various events and award shows, in recent years, King has focused on her personal life and philanthropic endeavors. She is a strong advocate for environmental and political causes, and has used her platform to raise awareness and funds for various organizations. She has 4 children and is now 81 years old and still looking good.
You’ve got to get up every morning With a smile on your face And show the world all the love in your heart Then people gonna treat you better You’re gonna find, yes you will That you’re beautiful, as you feel – lyrics from “Beautiful” by Carole King.
Playing until August 6th at the Stanley Industrial Alliance Stage – An Arts Club Production.
Girl Who Would be KING on Life, Style and INSPIRATION. 
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