Shaken faith & lost innocence in Soulpepper’s haunting yet hopeful Innocence Lost: A Play about Steven Truscott

Berkley Silverman & Dan Mousseau. Set design by Camellia Koo. Costume design by Sue LePage. Lighting design by Bonnie Beecher. Photo by Cylla von Tiedemann.

 

A town divided in the aftershock of the tragic rape and murder of a 12-year-old girl; and subsequent adult trial and conviction of a 14-year-old classmate. A journalist doggedly pursuing the truth, casting doubt on the efficacy of law enforcement in the case and belief in the fairness of the local justice system. Soulpepper’s production of Beverley Cooper’s Innocence Lost: A Play about Steven Truscott, directed by Jackie Maxwell, examines the impact of this tragic case on those close to these two young people, the town and the public at large. The show opened last night to a packed house at the Young Centre.

The perception of a quiet, safe life in Clinton, Ontario was shattered when 12-year-old Lynne Harper went missing on June 9, 1959; her lifeless body found two days later in the woods just outside of town. In a stunning aftershock, her 14-year-old classmate Steven Truscott was tried as an adult, convicted and sentenced to death for her rape and murder—dividing the town’s residents; and casting extreme doubt on Truscott’s character, as well as the law enforcement and local court handling the case.

Our narrator to the events leading up to and following this tragic event is Sarah (Courtney Ch’ng Lancaster), the only fictitious character in the play. It is through her lens as classmate of the well-liked, athletic Steven Truscott (Dan Mousseau) that we get a glimpse into this time and place. Speaking to us as an adult, she turns over memories, and conflicting thoughts and emotions in her mind, as she guides us through the barrage of information, misinformation and gossip about the unthinkable death of Lynne Harper (the young Berkley Silverman), and the shock of Steven’s subsequent trial and conviction.

Lead investigator, OPP inspector Harold Graham (John Jarvis), chooses to focus on the changeable testimony of two minors: Butch George (Caroline Gillis) and Jocelyne Gaudet (Akosua Amo-Adem), whose testimony conflicts with other children the police interviewed, like Dougie Oates (Christef Desir), who saw Steven giving Lynne a ride on his bike. Compounding the misinformation of this selective culling of largely child witness testimony are the findings of pathologist Dr. John Penistan (Deborah Drakeford), who examined Harper’s stomach contents to determine time of death. And, for some reason, the trial is held locally, offering little in the way of an unbiased jury, for which only men have been selected. Assumptions and prejudice abound. The authority of police, doctors and judges is not questioned. And there are two distinct class divides in the town: long-time residents vs. local air force base personnel and officers vs. non-coms. And a further divide develops: those who believe in Truscott’s innocence and those who believe him guilty. Interestingly, Lynne’s father (Jarvis) was an officer and Steven’s father Dan (John Cleland) was a non-com.

Journalist/writer Isabel LeBourdais (Nancy Palk) appears on the scene, ruffling skeptics’ feathers and providing hope for supporters with interviews about Truscott’s case. Her investigation and subsequent 1966 book The Trial of Steven Truscott shines a spotlight on holes in the investigation, calling into question the work of investigators and the fairness of the trial. Rumours of misdirection and cover-up emerge. Through the tireless efforts of supporters, particularly Truscott’s mother Doris (Gillis) and LeBourdais, Truscott’s case is revived—in public consciousness and in the legal system. Truscott’s original sentence is commuted to life in prison a year after his conviction; he is paroled in 1966 and acquitted by the Ontario Court of Appeal in 2007.

Innocence Lost, Soulpepper
Courtney Ch’ng Lancaster & Nancy Palk. Set design by Camellia Koo. Costume design by Sue LePage. Lighting design by Bonnie Beecher. Photo by Cylla von Tiedemann.

Sharply detailed, respectful work from the ensemble; the women in this story feature prominently, with some particular stand-outs in the cast. Ch’ng Lancaster does a brilliant job with the conflicted Sarah; torn between her admiration of Steven, and the myriad voices supporting and damning him, Sarah finds her own faith shaken—and like Peter, even denies knowing Steven. Longing to put some distance between herself and the town, and its accompanying nightmare of memory, she travels across the country to university, only to find people talking about the case. Drakeford does an outstanding job, juggling multiple characters with both dramatic and comedic flair: Sarah’s gossip-mongering, opinionated mother; the arrogant Dr. Penistan; and hilarious turns as a harried Brownie pack leader and a put-upon front-row student. Palk shines as the intrepid LeBourdais; affable but nobody’s fool, LeBourdais questions authority—in this case, the male power system responsible for incarcerating Truscott—pointing out inaccuracies, conflicts and omissions in testimony, and the circumstantial nature of the evidence, and putting those involved in the case on the hot seat.

Shouts to the design team for their work in conjuring this time and place. Doris Day’s Que Sera, Sera brings a dark bit of whimsy to the pre-show music (sound design by John Gzowski), adding a touch of nostalgia along with the vintage costumes (costumes by Sue LePage). The stand of tall, narrow trees that dominates the dimly lit set provides a haunting, hazy atmosphere and doubles as the bars of Truscott’s jail cell (set design by Camellia Koo and lighting design by Bonnie Beecher).

Innocence Lost is as much about Truscott’s lost childhood as it is about the shaken faith of a town and its people. All that had been trusted and taken for granted as true and good—the town’s safety, the police, the courts and Truscott’s character—dissected, questioned and turned upside down. Assumptions, prejudices, hearsay and bias create an environment of skepticism, mistrust and denial; favourite childhood places become poisoned in memory. And faith, hope and love put the story of his role on that tragic day back on track.

Innocence Lost: A Play about Steven Truscott continues in the Marilyn and Charles Baillie Theatre at the Young Centre until June 23. Get advance tickets online or give the box office a shout at: 416-866-8666 or 1-888-898-1188.

Check out Maija Kappler’s piece on Innocence Lost, including an interview with playwright Beverley Cooper, in Intermission Magazine.

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Still soaring after all these years: Ruminations on war & heroism in the entertaining, poignant Billy Bishop Goes to War

Eric Peterson in Billy Bishop Goes to War—photo by Cylla von Tiedemann

 

Still flying high 40 years after its creation, the award-winning Billy Bishop Goes to War returns to the Young Centre. Written and composed by John MacLachlan Gray with Eric Peterson, and directed by Ted Dykstra, Soulpepper brings Billy Bishop back to the stage in celebration of Canada’s 150th birthday.

Pulling dusty sheets from the piano, an easy chair, and a series of foot lockers and trunks, Bishop (Peterson) appears in pajamas, dressing gown and slippers. Despite the sense that we are here with him out of time and space, it’s as if we’ve woken him from a snooze. The foot lockers are a treasure trove of memorabilia and props for his story, as he dusts off memories, producing props and gear; and the framed photographs he produces along the way serve as poignant snapshots of moments and lives lived.

Through anecdotes, songs, poetry and letters to Bishop’s sweetheart Margaret back home, Peterson and Gray weave a tale of a life that was part luck, part pluck and all present. Going from the worst student at the Royal Military College (RMC)—known as a liar, a cheat and general executer of shenanigans—to an officer in the cavalry, Bishop always had an eye out for opportunity and adventure. Growing tired of being stuck in the mud or covered in sand, he looked for a way out of the cavalry. In his case, up and out. Finding his way into the Royal Flying Corps, he was taken on as an observer—a good job for him, as he was also known for his hawk eye and being a good shot—later becoming a pilot with the assistance of Lady St. Helier, who he met and befriended while recuperating in a London hospital (his tendency toward being accident prone bringing him good luck on several occasions).

As a pilot, he found a particular sense of drive and ambition, developing a friendly rivalry with fellow pilot Captain Albert Ball, and becoming famous for flying solo missions, including an attack on a German aerodrome; endeavours that earned medals, including the Military Cross, the Distinguished Service Order and the Victoria Cross. Realizing the colonies were more apt to respond to a living hero than a dead one, his British superiors gave him a new assignment, to return home as a hero and public figure, boosting morale in Canada.

billy bishop 2
Eric Peterson & John MacLachlan Gray—photo by Cylla von Tiedemann

Gray (on stage as the Piano Player) and Peterson are a perfect match for this journey of an unlikely hero. In addition to acting as accompanist and singer, his gentle, raspy vocals performing catchy, often moving songs, Gray takes on the roles of army buddy and audience for Bishop, as well as a number of brief moments as various other characters as needed. And Peterson juggles a number of characters in addition to Bishop, including particularly fun turns as a befuddled British officer, a drunken Scot, the imperious and proper Lady St. Helier, and the slinky chanteuse Hélène.

Foot lockers, a stand-up ash tray and a miniature of Bishop’s famous plane, as well as shadow play and projections on the upstage scrim, are used to great effect to re-enact observer flights, the first solo flight and dog fights. Peterson’s playful scallywag adventurer performance as Bishop is balanced by moments of profound poignancy: his recitation of a poem to Albert Ball, and memories of the dead and dying, in the trenches or in the sky. And when Bishop returns to us in the present, it’s like we’re spending time with a grandfather, a beloved rascal regaling us with tall tales of the war, at times appearing lost in thought or memory. For better or worse, these things happened—and they shaped a life and a career.

With big shouts to the design team—Camellia Koo (set and costumes), Steve Lucas (lighting) and director Ted Dykstra (sound)—for their work on bringing this adventure in storytelling to life.

Still soaring after all these years. Playful, irreverent and thoughtful ruminations on the nature of war and heroism in the entertaining, poignant Billy Bishop Goes to War.

Billy Bishop Goes to War continues in the Baillie Theatre at the Young Centre; advance tickets available online or by calling the box office at 416-866-8666.

Check out the 2017 trailer: