When we were kids, my brothers had this friend, Stephen MacDonald, who was always getting into accidents and seriously injured. Like the time they were playing leap-frog over those large chunky wooden stakes that acted as a kind of fence/vehicle barrier around the park near our house. Stephen slipped and his leg came down on the stake, tearing open the inside of his thigh. Then there was the time when he fell on his elbow and dislocated it so it was bending the wrong way. My mum was a nurse, so the kids invariably came running for her. Surprisingly, Stephen survived his childhood of freak injuries, and he and my brothers lost touch over the years as childhood friends often do. Hopefully, he’s still with us.
Seeing BirdLand Theatre’s production of Rajiv Joseph’s Gruesome Playground Injuries yesterday afternoon reminded me of that kid – and I’m sure everyone knows, or may have even been, a Stephen MacDonald – although, unlike the play’s character “Doug,” I don’t know that Stephen had a “Kayleen” as a close friend and intimate witness to the his history of scars.
Kayleen and Doug first meet in the school nurse’s office when they’re eight years old. Doug – pretending to be Evel Knievel, complete with cape – rode his bike off the school roof and cut his head open, while Kayleen has ongoing stomach problems. And thus begins a history of Doug being injured and Kayleen being there to witness, always asking “Does it hurt?” – and Doug believing that Kayleen has some magical touch that makes him feel better. The action of the play takes place out of time and space – the actors entering from a door upstage left, dressed only in their underwear. They emerge, back-lit, through fog and a cacophony of indiscernible sounds (design by Christopher Stanton) – like the garbled voices of memory, alien and distant, almost like they’re onboard an alien spacecraft. The stage (set design by Joseph Pagnan, who also did costumes, and lighting by Gareth Crew) is set with a variety of macabre and medical pieces: bubble wrap bodies, in various states of dismemberment, hanging on chains and sometimes lit red from inside; a bike chained up on the stage right wall; a jungle gym-like structure of scaffolding pipes up left contains one of the twisted plastic corpses; and the hospital items – IV bags, a wheelchair, crutches. Projected photos and scene titles (designed by Jordan Tannahill) guide the audience through the shifts in timing and events, the actors changing costume onstage.
It’s not all nasty and pain, though. Gruesome Playground Injuries has great beauty in the relationship between the two characters – both living with physical and emotional pain, but unable to connect in the long term. Doug and Kayleen’s reunions occur around dire and painful events. It’s like their relationship is too painful to maintain, but too intimate to dissolve entirely. What was especially intimate and tender were the moments when the actors applied make-up injuries to each other, then wiped them off each other after each scene, reinforcing the love and support between these two characters. Powerful, moving and darkly funny performances from Peter Mooney and Janet Porter.
Gruesome Playground Injuries continues at the Theatre Centre until May 13. For more info, visit the BirdLand Theatre website: http://www.birdlandtheatre.com/