“Sex is never just about sex, it’s about so much more.”
Shifting between time, space and – possibly – reality, Aromas is a one-woman show, featuring two main characters (ice dancer Katalin and professional escort Chanel) and two supporting characters (Katalin’s immigrant mother and former schoolmate Angela), among others. Katalin resides in the past, recounting stories of the people, places and parties she’s experienced on tour. A traumatic childhood encounter with Angela and an ecstatic first time seeing Swan Lake with her mother were defining moments for her, flipping on a switch inside, directing her future path. Chanel talks about her life in the present; straightforward and professionally detached, her body is a commodity and its commercial activity allows her the experience of physical intimacy without the underlying baggage that accompanies romantic relationships. A grown-up Angela, still dealing with ongoing anger management issues, sees Katalin’s life as exciting and glamourous – and can’t help but take credit for being a catalyst for it.
The question of identity arises: are Katalin and Chanel the same person? Is Chanel a fantasy for Katalin – or an evolution of spirit? Katalin wonders herself, who is she – is she merely a product of her experiences, set on certain paths by critical life events? One of the most touching – and telling – lines from the play comes from Chanel: “The Kama Sutra is a book of prayers you do with your body. Even a broken body wants to pray.” Here, this reference touches on the true physical intimacy – and spirituality – of being totally present, as well as making reference to a severely disabled young client – and possibly even regarding Katalin. In the end, we see that, while Katalin is damaged, she is not broken; drifting and in need of closure, but not without hope.
Fraser gives a stunning performance. As Katalin, she is vibrant, vulnerable, irreverently funny and flirtatiously sexy, seizing the day and acting on instinct and, in some cases, impulse. Chanel is wry-witted and sophisticated, approaching her work in a detached and professional manner – but not without sensuality, empathy and compassion. Or is that Katalin? The performance is compelling in its character and time shifts – and the storytelling is gut-wrenching and deeply poignant, with hints of edgy humour.
Brandon Kleiman’s set, with boxed rows of hotel room keys as a backdrop, provides an visually appealing and versatile playing area for this production, the story unfolding nowhere and anywhere, past and present; and his costuming both distinguishes and describes the characters. Ed Rosing’s lighting provided atmosphere for the action, most notably some warm, sensual ambers, as well as cues to the shifts in time and scene. Sound designer Richard Jones built a soundtrack around contemporary pop and snatches from Swan Lake, and original composition, from incidental to industrial synth, nicely underscoring the storytelling. The sense of smell, a highly evocative key to memory, and what it perceives – hence, the play’s title – while not physically present, is highlighted in the text.
All of this is held together and kept running by the production’s intrepid stage manager Margot “Mom” Devlin (a name that Alumnae Theatre Company fans will recognize from countless shows there), who was multitasking as sound and lighting operator, as well as box office for the opening performance.
Aromas is a heartbreaking, erotic and darkly funny journey of identity and intimacy, a moving piece of non-linear storytelling, compellingly told.
*The Junes Company is “a flexible collective of comprised of professional theatre/film/TV performers, creators and producers.” Past shows include A Damn Fine Nite of Actors, an evening of short plays written, directed and performed by the “Monday Niters.” The company will be mounting a production of The Lion in Winter at Alumnae Theatre next year, directed by David Ferry, and featuring Shawn Lawrence and Rosemary Dunsmore.