Nostalgia meets the ghosts of memory in the funny, poignant, authentically human New Magic Valley Fun Town

Caroline Gillis, Andrew Moodie, Daniel MacIvor & Stephanie MacDonald. Set design by Brian Perchaluk. Costume design by Brenda McLean. Lighting design by Kimberly Purtell. Photo by Cylla von Tiedemann.

 

Prairie Theatre Exchange and Tarragon Theatre join forces to present the Toronto premiere of Daniel MacIvor’s New Magic Valley Fun Town, directed by Richard Rose, assisted by Audrey Dwyer; opening last night in the Tarragon Theatre Mainspace. Equal parts funny and poignant, it’s an authentically human story of nostalgia and ghosts of the past as the kitchen party reunion between two childhood friends reveals some unwelcome memories.

In small-town Nova Scotia, cancer survivor Dougie (Daniel MacIvor) lives in a spotless double-wide trailer, separated from his wife Cheryl (Caroline Gillis), who’s stayed in their family home in town. Their young adult daughter Sandy (Stephanie MacDonald) is on a break from her English lit thesis to manage some mental health issues. Dougie is anxiously awaiting the arrival of Allen (Andrew Moodie), a friend from childhood and one of the few Black residents of the town back in the day, who moved on to become an English professor at U of T.

Dougie and Allen haven’t seen each other for 35 years, and their reunion—initially rife with awkward excitement, vintage music, drinking and dancing—takes a dark turn as painful, secret memories emerge. Dougie is dealing with his sense of mortality and Allen needs to get something off his chest; and lifelong feelings of deep-seated anger, shame and longing bubble to the surface.

Daniel-MacIvor-and-Andrew-Moodie-in-New-Magic-Valley-Fun-Town-photo-by-Cylla-von-Tiedemann-1024x690
Daniel MacIvor & Andrew Moodie. Set design by Brian Perchaluk. Costume design by Brenda McLean. Lighting design by Kimberly Purtell. Photo by Cylla von Tiedemann.

Beautiful performances from this ensemble, enacting a marathon of emotional experience and responses. MacIvor is a compelling, high-energy presence as the tightly wound Dougie; obsessively neat and wanting things to be perfect for Allen, Dougie appears to have channelled his nervous energy into preparations for the visit—but we learn that this behaviour pre-dates his cancer diagnosis, going back to adolescence. Moodie’s calm, introspective Allen is equally gripping; perfectly complementing the frenetic Dougie, the emotionally contained Allen is bursting with the buried feelings of distant, disturbing memories—memories that are excavated and brought to the surface during this fateful visit, and intersect with his experience of being Black in a small town.

Gillis is loveably quirky and as the cheerful, attentive Cheryl; a protective wife and mother who’s at a loss as to how to help her husband and daughter, her positive demeanour masks the pain within, and she finds solace and community in the local Catholic church. MacDonald gives a hilariously playful, irreverent and sweetly poignant performance as Sandy; a post-grad student with the heart of a poet, Sandy is navigating her own illness, even as she continues to reach out to connect with her ailing father.

The classic 70s vintage vibe of Brian Perchaluk’s set design and Don Benedictson’s original music and sound design (those of a certain age were singing along with the pre-show tunes) combine nicely with Brenda McLean’s modern-day costume design, and the realism and cathartic magic of Kim Purtell’s lighting.

Each of these characters is reaching out for connection from a place of profound aloneness. And, while the deeper meaning of the titular amusement park of childhood memory is revealed—not new, magic, a valley, fun or a town—there’s strength and resilience in the present, and hope for the future, as these characters move towards light and closure.

New Magic Valley Fun Town continues in the Tarragon Theatre Mainspace until March 31; get advance tickets online or contact the box office at 416-531-1827.

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The meaning of life, death & the role of a lifetime in the moving, tender & funny Or Not To Be

Andrew Robinson, Shawn DeSouza-Coelho & Karen Scobie in Or Not To Be—photo by Vic Finucci

 

I was back at Red Sandcastle Theatre last night, this time for Glass Hammer Productions’ presentation of Andrew Batten’s Or Not To Be, directed by Julia Haist. I saw the premiere at Alumnae Theatre’s New Ideas Festival last year and was excited to see the evolution of the piece.

Actor Ben (Shawn DeSouza-Coelho) and director Sebastian (Andrew Robinson), also best friends, are working on putting together a production of Hamlet, with Ben playing the tragic hero. It’s the production of a lifetime—and the role of a lifetime for Ben—in more ways than one. Ben is living with a rare cancer, and his life now revolves around post-op treatments, medical appointments and an uncertain future. Rounding out his support team are his family and partner Sarah (Karen Scobie)—all touched in his or her own way by Ben’s illness.

Beneath the brave face Ben puts on for the world is a deep-seated internal conflict about the project and his treatment. As he struggles with side effects, low energy, frustration, and the fear of forgetting his lines and sucking at the role, he begins to wonder who he’s doing all of this for—and he’s faced with some hard choices, the impact of which will ripple out to those he loves.

Really lovely work and great chemistry from this three-hander cast in this intimate and candid production. DeSouza-Coelho’s Ben is a compelling picture of stoicism and determination, his thousand-mile stare and stillness belying the troubled soul beneath the surface; and he gives us nicely drawn Hamlet in a selection of classic soliloquies. Robinson brings the perfect balance of cockiness and warmth to Sebastian; Ben’s best friend since grade school, his theatrical ambitions are put into perspective by his support and care of Ben. Scobie gives Sarah a poignant sense of vulnerability and conflict as Ben’s lovingly supportive and uncomplaining partner; torn between wanting what’s best for Ben and not wanting to let him go, Sarah must confront her own feelings and motives. These relationship dynamics have all the truth, humour and feeling of people who know each other well—and in Ben and Sebastian’s case, a long time. And while the truth may be hard to take, it’s served up with love and honesty.

In the end, it makes you think. How would you react in Ben’s situation? What would your life be? And, as your life is right now, what’s your Hamlet? We are reminded that time is a precious, non-renewable resource—and despite the best intentions of those we love, it is we who must ultimately decide what path our lives will take.

With shouts to Liz Currie, the intrepid stage manager, lighting designer and tech in the booth; and to Wellspring, an organization—noted in the program—that provides programs and services for people living with cancer and their caregivers.

The meaning of life, death and the role of a lifetime in the moving, tender and funny Or Not To Be.

Or Not To Be continues at Red Sandcastle until January 28, Thursday through Saturday at 8 pm, with 2 pm matinees on Jan 20, 21, 27 and 28. Tickets available by calling the box office at 416 845-9411, or online at this link for first seven shows and this link for the final seven shows.