Fear, loathing & melancholy at an office party in the razor-sharp, edgy, timely Casimir and Caroline

Hallie Seline, Cameron Laurie & Alexander Crowther. Set & costume design by Ken MacKenzie. Lighting design by Jareth Li. Photo by Dahlia Katz.

 

The Howland Company presents the North American premiere of their adaptation of Ödön von Horváth’s Casimir and Caroline, based on the original translation by Holger Syme, and adapted by Paolo Santalucia, Holger Syme and the company. Razor-sharp, edgy and timely, we’re front and centre witnesses to the goings-on at an office summer party, where bigwigs and nobodies alike eat, drink and dance as fast as they can on the rooftop patio while they all still have jobs. Running in parallel collapse are the tensions and crises between the titular engaged couple and the various corporate machinations and relationships that churn among their co-workers. It’s a one percent vs. 99 percent world of “winners” and “losers”, and no one is as they seem. Directed by Paolo Santalucia, assisted by Thom Nyhuus, Casimir and Caroline opened its run in the Scotiabank Community Studio at Streetcar Crowsnest last night.

Caroline (Hallie Seline) is enjoying some fun time with colleagues at their summer office party on a rooftop patio—until fiancé Casimir (Alexander Crowther) shows up in a mood and pisses on her parade. He got fired from his job driving their boss Rankin (James Graham) the day before, he’s broke, his cellphone doesn’t work and he’s pissed that Caroline invited him to the party. With brutally honest friends Frank (Cameron Laurie) and Frank’s girlfriend Liz (Caroline Toal) on his side, Casimir stomps in and out of the party, becoming incensed when he sees Caroline chatting with newly met co-worker, the fashionable Sanders (Michael Ayres), and later witnessing her being hit on by corporate sleazeball Rankin!

Add to the mix the boyish intern Trevor (Michael Chiem), who’s been tasked with minding the popsicle stand; the intimidating boss lady Shira (Kimwun Perehinec), visiting from the Montreal office; the neurotic Mary from HR (Veronica Hortiguela), who worships Shira and wants to rise up the ranks; and her cool, sharp-tongued co-worker pal Ellie (Shruti Kothari)—and you have a lively, fascinating field guide of some favourite office animals.

It’s a one percent vs. 99 percent world of “winners” and “losers” where anyone can lose what they have at any time and without warning. There are those at the top, trying to maintain or grow their position; those who want to be at the top, in some cases by any means necessary; and those who are either stuck at the bottom, or who have fallen from corporate and social grace. Everyone is wearing a mask of some description, and true colours are revealed as the action unfolds. And as the party fun and jocularity among colleagues devolves, so too does Casimir and Caroline’s relationship.

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Hallie Seline, Caroline Toal, James Graham, Shruti Kothari, Veronica Hortiguela, Cameron Laurie, Alexander Crowther & Michael Ayres. Set & costume design by Ken MacKenzie. Lighting design by Jareth Li. Photo by Dahlia Katz.

Outstanding performances all around. Seline’s Caroline has a strong sense of determination and resilience, edged with lovely sense of vulnerability; and Crowther’s Casimir is a tightly wound combination of bouffon Stanley Kowalski and hurt little boy. Laurie is both intimidating and comic as the ex-con Frank; and there’s great combative chemistry with Toal’s edgy, gruffly candid Liz. Graham’s Rankin is an entitled #MeToo poster boy, but there’s something deep and sensitive there too; and Perehinec gives stylish dragon lady Shira hints of magnanimous warmth and openness.

Ayres brings an affable charm to fashion writer Sanders, keeping us guessing whether Sanders’ smoothness has something to hide. Chiem is adorably cheerful as Millennial intern Trevor, who must decide if he wants to venture into the dark side of corporate life. Hortiguela brings both comedy and pathos as the socially awkward, ambitious Mary; and Kothari’s chill, sharply candid, in-the-know Ellie makes for the perfect foil—though Ellie’s cruelty may not always be meant in kindness.

The storytelling is nicely supported by Jeremy Hutton’s sound design and Evan MacKenzie’s composition, featuring frenetic, whirling retro accordion music in the pre-show (a nod to the 1930s German origins of the play) and some heavier urban music sounds; and Reanne Spitzer’s choreography, wild and flailing, with some synchronized group dancing.

The melancholy is balanced by absurdity—with the old adage about comedy equals tragedy plus timing in high evidence here. And elements of the ridiculous among the characters are ultimately full of poignancy. Disappointment, disillusionment and discouragement abound. The world is a fucked-up place and the ground is shaky for everyone—and that changes how people behave and present themselves. In the end, those who are genuine, sharply candid and able to express what they want are the ones who’ll make out okay.

Casimir and Caroline continues at Streetcar Crowsnest in the Scotiabank Community Studio until February 9; advance tickets available online. This is going to be a hot ticket, so advance booking is strongly recommended.

Magic, heart, comedy & truth in and out of love (again) in 52 Pick-up remount

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Playing one of the four rotating couples in the production, Ruth Goodwin & Alexander Crowther toss the deck into the air in 52 Pick-up

Tell me a story.
Real or made-up?
Both.
Happy or sad?
Both.

These are the opening lines of TJ Dawe and Rita Bozi’s 52 Pick-up – produced by the Howland Company, and directed by Courtney Ch’ng Lancaster and Paolo Santalucia – setting the stage for a random, non-linear piece of two-handed storytelling about the beginning, middle and ending of a relationship. After delighting sold-out houses at last year’s Toronto Fringe, then going on to The Best of Fringe, the production is getting a remount at Fraser Studios.

52 Pick-up has a performance rotation of four couples: two guy/girl, one girl/girl and one guy/guy. I’d previously seen both guy/girl couples: real-life couple Hallie Seline/Cameron Laurie and Ruth Goodwin/Alexander Crowther. The remount features two new actors, replacing co-directors Ch’ng Lancaster and Santalucia, who both acted in the Fringe production: Llyandra Jones and Alexander Plouffe, who stepped in to play half of the same-sex couples (with Kristen Zaza and James Graham, respectively). I saw the girl/girl couple (Zaza and Jones) yesterday afternoon.

For those who haven’t seen 52 Pick-up, it goes something like this. At the top of the show, the relationship has already ended and the couple decide, together, to tell us their story. The order in which the story is told is dictated by the random selection from a deck of cards, tossed into the air, each card containing a word or phrase that defines the scene they’re about to play out for us.

So, between the four rotating couples and the random running order, you’ll never see the same story the same way twice – even with the same couple. The outcome can also result in some happy coincidences, like yesterday when the “Psychic” scene came right after a scene in which psychics were discussed. Each couple makes it clear that they’re telling us a story, winding in and out of scenes and returning to us, the cards on the floor and the box into which the discards go. Speaking directly to us – and like the “How do you know her?” scene – sometimes gently interacting with someone in the audience, the actors charm, engage and move us. It’s like hearing two friends talk about how they met, courted and gradually grew apart before breaking up – and even though the story is told out of order, your mind wants to put it together, like a puzzle, in linear format. And, like most break-ups, there isn’t necessarily a readily definable ‘why’ – and, in many cases, it’s about two people coming to realize that they just don’t fit together.

For those who have seen one of the guy/girl pairings, Zaza takes on the “girl” role and Jones the “guy.” In many respects, it would be more helpful to describe the couple as Person A and Person B. This is not about imposing heteronormative dynamics on the same-sex couples, it’s about showing two personality types come together, and the way the two succeed – or fail – to connect. Seeing a same-sex couple in this show, especially for those unfamiliar with such a relationship, highlights how romantic relationships aren’t so dependent on sex and gender as they are on personal character dynamics, lifestyle issues and wanting the same things from life.

Zaza and Jones have great chemistry, telling us the story of this couple with a playful sense of awkwardness, passion and romantic friction – with great comic timing and emotional connection. This couple is adorably awkward, earnest and committed, from the brief meet cute over the bladder health benefits of cranberry juice to the sniping over how to chop carrots – funny, moving and above all truthful. Jones brings a lovely bashful, soft butch quality to her laid back, home body character, while Zaza is the bubbly, assertive and outgoing femme – and we’re sad to see these two characters part.

52 Pick-up has all the magic, heart, comedy and truth of falling in and out of love. Now, if I can only work out my scheduling to see the guy/guy couple. Go see this – or go see this again. And again.

52 Pick-up continues at Fraser Studios until March 22. Seating is limited, so booking ahead is strongly recommended – you can do so online here (and see the full schedule and what couple is on when).