Models Abby Gillam, Ryan Helgason & Lauren Helgason. Photo by Chloë Whitehorn.
Mad River Theatre takes us to a small town by the water as a family struggles to overcome tragedy in Chloë Whitehorn’s haunting, lyrical Mourning After the Night Before; directed by Heather Keith and running at the Helen Gardiner Phelan Playhouse.
Lucy (Mary Wall), Drew (Dave Martin) and their teenage daughter Pippa (Brianna Richer) have just arrived in a small town by the water to start a new life, their move assisted by local residents Everett (Jack Morton) and his guardian Fenwick (Loriel Medynski). Pippa is a troubled poet, surrendering the dark contents of her creative, intelligent mind onto paper. Lucy is feeling out of place in her own skin; and Drew, who feels so far away, just wants everyone to be okay. Everett is smitten with Pippa—and Lucy—and the attractions are mutual; and Fenwick’s just trying to keep it together as her adopted son, a reminder of the friend she loved, is on his way to manhood.
Nice work from the cast in this quiet, intimate, ethereal piece where everyday moments float by like leaves on water. Richer’s restless, introspective wild child is nicely balanced by a playful, creative spirit. Wall’s Lucy is part caged animal, part cougar on the hunt as she grapples with her identity as wife and mother and finds herself lacking. Martin’s Drew avoids the stereotypical frustrated, estranged husband; Drew is a hurt, gentle soul who genuinely cares and wants to help, but finds himself at a loss to do so. Morton’s Everett is an endearing combination of lusty youth, optimism and kindness as he navigates his way through the early stages of manhood. And Medynski brings a gentle wisdom to the frank, no-nonsense Fenwick, who’s dealing with both a past loss (Everett’s mother) and an impending loss of her own (Everett growing up).
I first saw an early, shorter version of the play at Alumnae Theatre’s New Ideas Festival in 2018; and was happy to see its evolution. It combines everyday, intimate moments with poetry, and word play and introspection; woven with images and perspectives of water, the characters float around, dive into and drown in their lives as they grasp and gasp for connection, identity and meaning. The water almost becomes a sixth character here. And the minimalist set, incorporating black cubes to denote separate spaces in the story, places a focus on the words and characters as they glide in and out of moments, memories and musings. The result is a heightened realism that is both atmospheric and lyrical.
It is ironic that the family’s retreat to the peace and quiet of a small town forces a level of discomfiting introspection as each tries to anchor themselves within themselves and the world—a not so peaceful or quiet endeavour.
The Mourning After the Night Before continues at the Helen Gardiner Phelan Playhouse until July 14; check the show page for exact dates/times and advance tickets.