“You come in and want to help and contribute to the team’s success and want to make plays.
I was reacting and was stressed,” he said. “The first few games, things were coming at me fast. He knew he would have difficulty with his cardio upon his return, but has struggled with the pressure, speed and sense of urgency associated with a game. While Giguère has been practicing for several weeks, nothing can simulate game conditions, he admitted. You acknowledge it, try to find out why it happened and correct it.” You accept it for what it is - a mistake. I’m not going to catch every ball all the time. “Nothing’s going to go well all the time. There’s nothing I can do about it, just work hard and have a positive attitude. “These last few games have been tough,” he admitted. Is there more to this story? We’d like to hear from you about this or any other stories you think we should know about.This advertisement has not loaded yet, but your article continues below.
Hollywood North: The latest from the B.C.Looking for something to do? Check out our comprehensive event listings.“In spite of everything I still believe that people are really good at heart.” More On This Topic Whether this is the playwright’s decision (the program doesn’t indicate whose adaptation we’re watching) or the directors’, it undercuts the much stronger silent ending that echoes with Anne’s ironic, stirring final words. But we also unfortunately hear stagy Nazi speeches in English with bad German accents.Īnd the end of the play, an epilogue in which sole survivor Otto Frank explains what happened to everyone after their arrest, is seriously anticlimactic. Offstage sounds provide terrifying reminders of the nightmarish world beyond the shelter: a speech by Hitler to cheering crowds, sirens, a train rattling down the tracks. The actors simply sit or stand and turn away in powerful tableaus to indicate that their character has left the common space. Eight chairs comprise the only furniture, and the characters never leave except to go to their one shared bathroom (another source of tension). She’s jealous of her “perfect” sister, adores her almost saintly father but loathes her mother. This intense dislike seems especially irrational given the sweetness of Leon’s Edith.Ĭo-directors Allyson Fournier and Ryan Mooney stage the play on a bare floor in the round. Anne, though, retains her resilience and good humour, warming up and ultimately melting surly Peter as her own sexuality quietly blossoms.Īnne’s relationship with her family is central to this version of the diary, some of which she narrates. Tensions arise over space, behaviour, noise, food (eventually they’re reduced to eating rotten potatoes) and worsen as the months drag on with the murderous Gestapo always just outside. After a few months grumpy Jewish dentist Dussel (Thomas King) also moves in. Van Daan (Bruce Hill), his wife (Leanne Kuzminski) and their 16-year-old son Peter (Gabriele Metcalfe), all protected and kept fed by virtuous Christians Miep (Tori Fritz) and Mr. Joining them are Otto’s business partner Mr. Smart, precocious, fun-loving Anne, played with understated charm by Morgan Hayley Smith, is only 13 when forced to hide with older sister Margot (Diana Beairsto), father Otto (Cale Walde) and mother Edith (Gina Leon) in a secret apartment behind a wall of Otto’s office to avoid deportation to Auschwitz. Solid performances and intelligent direction give effective life to the strong story despite a couple of serious strategic errors. Article contentįighting Chance Productions, a non-Equity company, stages its theatrical adaptation in the small, stuffy theatre at the back of the Havana restaurant, offering a passable suggestion of the Franks’ claustrophobic secret annex. This advertisement has not loaded yet, but your article continues below.
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