life with more cowbell

Was back at the Young Centre last night, this time to see the George Brown Theatre graduating class’s  production of Tennessee Williams’ Orpheus Descending, directed by Todd Hammond.

From the outset, Jackie Chau’s set and Michelle Ramsay’s lighting conjure up a cold, dark, desperate world – the wooden columns of the family-owned general store are covered with iron implements of the slave trade, most notably shackles. The only glimmer of hope is the light from the lanterns hung throughout.

The opening scene places the audience in a small, tight-knit Southern community – so close it’s suffocating – where personal business is easy and acceptable fodder for gossip among the ladies, and male-dominated vigil ante justice goes not only unpunished but is supported by local law enforcement. Wild child Carol, daughter of the prominent Cutrere family (played with a lovely combination of recklessness and vulnerability by Hannah Anderson), is an outsider in her own county – and banned from town for her raucous, drunken behaviour. And she acts as a grim social tour guide of sorts for the audience.

Another outsider is Lady Torrence (played with beautiful fragility, strength and passion by Tennille Read), the daughter of an Italian immigrant who was killed during an act of vigil ante justice. And, unbeknownst to her, her cruel and arrogant husband Jabe (Jeffrey Dingle) – with whom she’s settled in a loveless marriage – had a hand in her father’s death.

Lady’s life is undergoing a transformation. Jabe had been hospitalized for surgery and is confined to his bedroom during his recovery when he returns home – and the prognosis looks grim. Meanwhile, she has been setting up a confectionary in the store, covering it in lights and glass and things that shine, taking her inspiration from the wine garden she helped her father run before it was torched as punishment for selling alcohol to black people. The arrival in town of the handsome and edgy musician Val Xavier (Edward Charette, who brings a nice, sexy stray dog quality to Val, a man struggling against a wild youth to grow up and do right) turns Lady’s emerging life of purpose into one of passion when he decides to stay on and takes a job as a clerk in the store.

And, as this is Tennessee Williams, of course this will all end in tears. But, before the tragic ending of their relationship – in a place filled with icy judgement and hate – Lady and Val burn bright for a short time, in happiness and love. And one is left hoping against hope that Carol will get out of the county, but not really believing it will happen.

This is a very strong graduating class. Other stand-outs include Hilary Carroll, who was darkly comic as townswoman Dolly Hansen, and Nicole Wilson, as the dreamy Vee Talbott, who manages to find temporary sanctuary from life with her cruel ‘ole boy Sheriff husband through her visions and paintings.

George Brown Theatre’s production of Orpheus Descending runs in rep with Happy End (lyrics by Bertolt Brecht, music by Kurt Weill) until April  21 at the Young Centre (Distillery District, Toronto). Check out the George Brown theatre website for details: http://www.georgebrown.ca/theatre/productions/#ORPHEUSDESCENDING

For specific show dates/times and reservations, see the Young Centre site: http://www.youngcentre.ca/