Andrea Irwin, Thomas O’Neill, Evan Walsh & Gillian Reed. Costume design by Margaret Spence. Set design by Teodoro Dragonieri. Lighting design by Wes Babcock. Photo by Bruce Peters.
Peter denied Jesus three times and yet became the Rock upon which the Catholic Church was built—its first Pope. Cardinal Matias Iglesias denies knowing three people from his past and he is a favourite to become the next Pope.
It’s the eve of a papal conclave, and Canadian journalist Megan Gutierrez (Gillian Reed) visits the office of Latin American Cardinal Matias Iglesias (Thomas O’Neill), to interview him as part of a piece about the top candidates for the papacy. The jocular tone of their meeting turns adversarial when she asks him about three people: Angelo Flores, Laura Ballan-Kohn and Gabriel Mejia. While initially denying knowledge of any of them, when faced with accusations of complicity in the actions of a military junta, the Cardinal convinces Megan to stay and hear his side of the story. The ghosts from his past—General Angelo Flores (Lawrence Aronovitch), Professor Laura Ballan-Kohn (Andrea Irwin) and Father Gabriel Mejia (Evan Walsh)—all materialize as he relates the events and relationships.
Keeping his head down and careful to not antagonize the ruling regime, Iglesias—a Bishop when these events began—is determined to protect his people from harm no matter what the cost. But civil conflict arrives on his doorstep when Ballan-Kohn, a long-time friend and confidante, begins to speak out against the witch hunt on certain political and philosophical books, and the students and teachers who own them are rounded up never to be seen again. And Mejia, who considers Iglesias a mentor, disobeys orders to avoid certain areas, where he’s been secretly administering to the hungry and dying—criminals and terrorists in the eyes of the regime. Afraid that his friends’ resistance is putting them in grave danger, Iglesias is unable to mollify Flores, a friend from childhood who now enforces the party line, describing the missing and murdered as having “left the country”—viewing all resistors as terrorists, and their absence a political boon.
Strong, committed performances from the entire cast in this story of confession, revelation and absolution. O’Neill, a former Archdiocese of Toronto altar boy, is an impressive presence as the ambitious Cardinal. As charming and affable as he is diplomatic and cunning, Iglesias knows how to play the political game—but when the game gets too close to home, will he still have the stomach to play it? Reed brings a great sense of mission and conflict to Megan; sharp-witted and relentless in her determination to discover the truth, Megan is also nervous, vulnerable and harbouring a secret of her own.
Walsh gives young Father Gabriel a lovely aura of awkward, youthful drive. Naiveté and idealism mature with Gabriel’s earnest passion to do what is right, no matter how dangerous to his own well-being. Irwin is an unstoppable force as the mercurial, rambunctious and irreverent Professor Ballan-Kohn. Whip-smart, and possessing of a fiery spirit and courageous soul, Ballan-Kohn—whose parents are Holocaust survivors—knows what it means when good people do nothing. Aronovitch does a great job with the two lives of General Flores; doting new father, good-humoured friend and religiously observant, he is also a cool, detached military man who follows and gives deadly and life-altering orders without question. An extreme example, the General reminds us of the compartmentalized life that anyone can live.
Sin goes beyond the commission of bad deeds to include the omission of good deeds. But what about the role of environment and circumstance? For better or worse, we all do what we feel is right, and in our guts and power to do in the moment. At what point do confession and absolution constitute forgiveness? In the end, like Megan, we are left to our own judgement of these proceedings. And who among us is without sin.
With shouts to the design team for their work on creating this theatrical world, where souls from the past commune with those of the present to tell this story: Margaret Spence (costumes), Evelyn Clarke (props), Teodoro Dragonieri (set), Ali Berkok (sound) and Wes Babcock (lighting).
Ghosts of the past reveal the sins of the Father in the haunting, sharply funny, compelling Omission.
Omission continues on the Alumnae mainstage until February 3; advance tickets available online or at the door (cash only). Tickets are $25, with half-price tickets on Wednesdays and PWYC Sunday matinees.