Love & hate, abandonment & connection in the searing, electric Fool for Love

Cara Gee & Eion Bailey. Set design by Lorenzo Savoini. Costume design by Shannon Lea Doyle. Lighting design by Simon Rossiter. Photo by Dahlia Katz.

 

Soulpepper Theatre presents a searing, electric production of Sam Shepard’s Fool for Love, directed by Frank Cox-O’Connell and running at the Young Centre. The shifting temperatures of love/hate and tenderness/cruelty take on new meaning, with the pairing of an Indigenous woman with a non-Indigenous man as the on again, off again lovers—who come together and tear apart, both individually and collectively, in this rough and gentle dance of connection, abandonment, rage and desire.

In a cheap, grotty motel room in the Mohave Desert, May (Cara Gee) and Eddie (Eion Bailey) play out their ongoing cycle of of love, hate, abandonment and connection in a relationship that has come together and broken apart since they were in high school. Fiery, furtive—and playing off each other’s emotional and mental states—the power dynamic shifts as one pulls it together and the other falls apart. Explosions of jealousy, rage and recrimination reveal the simple, awful truth that they can’t live with or without each other.

Watching from the sidelines is the Old Man (Stuart Hughes), a father—a memory or a ghost?—observing the scene, and offering comments and advice from his rocking chair on the sand as he drinks Jack Daniels from a Styrofoam cup. Then, entering this love/war zone is local lawn maintenance guy Martin (Alex McCooeye), there to take May out to the movies. Initially interrogated by Eddie, he becomes an unwitting confessor as Eddie reveals how he and May met—and the nature of their connection.

Outstanding work from the entire ensemble in this intense, fly-on-the-wall look at a deeply complex, conflicted relationship. Gee is both fierce and vulnerable as May; wounded, wary and loving Eddie so much, but refusing to take it any more, May wants him to leave and to stay, to have him and move on. She also doesn’t want to be a dirty secret like her mother. Bailey balances Eddie’s cocky cowboy and hurt little boy; with a family history of abandonment and an unfulfilled longing to connect with an often absent father, he struggles to be his own man—all with the painful realization that he can’t be with May, nor can he quit her. The casting of an Indigenous woman and non-Indigenous man in this production highlights ongoing issues of colonization of Indigenous women’s bodies and minds; and the lies the white-dominated patriarchy feeds to white boys—about women and what they’re entitled to—when only certain white men actually benefit from this system. (Be sure to read Gee’s Artist Note at the front of the program for her lived experience and experience working on this production, as well as shared insights on these themes.)

Hughes and McCooeye provide arms-length—though very different—perspectives of the May-Eddie dynamic. Hughes brings a grizzled, cynical, even haunting vibe as the Old Man; revealing his own life as he reveals theirs. McCooeye’s performance as the sweet but dim Martin rings of a small-town, child-like innocence, and provides some much needed comic relief. There for a simple date at the movies, Martin winds up as a witness to the latest skirmish in Eddie and May’s relationship, and confidante to their personal history together.

With shouts to the design team for their part in creating an environment of heightened realism for this production: the gritty, sparse motel room set (Lorenzo Savoini); regional costuming that is both seductive and practical (Shannon Lea Doyle); the lighting effects that give the room a neon, then a fiery, glow (Simon Rossiter); and sound design and composition (Andrew Penner) that provide both atmospheric highlighting and practical punctuation to the action. And there’s live music, created on the dobro with slide, nicely done by Hughes.

Love as a cycle of possession, addictive desire, oasis, war zone and even shame—it’s easy to see why these lovers can’t be together, yet can’t be apart.

Fool for Love continues at the Young Centre, the run extended to August 11; advance tickets available online, or by calling the box office at 416-866-8666 or 1-888-898-1188. Advance booking strongly recommended; I saw it on a Tuesday night and it was sold out.

Advertisements

Ancestors calling on a hero’s journey through fear to true self in the engaging, powerful 11:11

Samson Bonkeabantu Brown. Set design by d’bi.young anitafrika. Costume design by Samson Bonkeabantu Brown. Lighting design by André du Toit. Photo by Brett Haynes.

 

A.V.O. Collective brings the world premiere of its engaging, powerful production of 11:11, presented as part of Why Not Theatre’s RISER Project 2019, to the Theatre Centre’s Incubator stage. Written/performed by trans-identified artist Samson Bonkeabantu Brown and dramaturged/directed by d’bi.young anitafrika, 11:11 is a bio-mythical monodrama journey, stretching across time, space, and the realms of life and afterlife, as our hero connects with his Portuguese and South African ancestors, and moves through fear to become the man he was meant to be.

In a one-person show that encompasses both broad and immediate personal history, Brown draws out his tale as he gradually constructs a pattern on the floor with white stones. Incorporating storytelling, history, movement, ritual, language and music, he shape shifts in and out of a cast of characters that include the precocious, curious seven-year-old girl he once was and the joyful, prophesying, matter-of-fact South African ancestor he’s about to meet.

Becoming a bridge between past and present, female and male, he connects with the spirit world through dreams and visions—and gradually the messages become clear as the little girl who experiences strange dreams and headaches, and is shunned in the schoolyard, grows up and comes to learn that there’s nothing medically wrong with her. She is a receiver, a prophecy made flesh, a shape shifter.

In a world where white men divided up a continent they claimed as their own, and forced their alphabet onto environment-based African dialects—and, later, Western medicine onto African descendants—how does our hero reconcile his connections to both the colonized and the colonizer? And, through the pain of the struggle for true identity, and the ancestral pain of apartheid and displacement, he comes to realize the complex—and even contradictory—aspects of identity and experience that have combined to create him.

1111 by Samson Bonkeabantu Brown (featuring Samson Bonkeabantu Brown) photo by Brett Haynes #2
Samson Bonkeabantu Brown. Set design by d’bi.young anitafrika. Costume design by Samson Bonkeabantu Brown. Lighting design by André du Toit. Photo by Brett Haynes.

Brown, who recently wrote for/performed in the RARE Theatre/Soulpepper production Welcome to my Underworld, is a compelling and entertaining storyteller. Engaging, bold, unashamed and vulnerable, he invites us along on his journey—part autobiography, part personal mythology, part history lesson, part supernatural revelation—as he connects with his roots and finds his true rhythm. From the child-like playfulness of a little girl to the wry-witted wisdom of an elder, the fear, confusion, joy and humour Brown expresses throughout resonate in a deeply profound, intimate way. And I know I wasn’t the only one in tears at the end.

11:11 continues in the Incubator at the Theatre Centre until June 1, with performances on:

Tuesday, May 28 – 6:00PM
Wednesday, May 29 – 9:00PM
Thursday, May 30 – 6:00PM
Friday, May 31 – 9:00PM
Saturday, June 1 – 6:00PM

Tickets available online, in person at the box office, or by calling 416-538-0988.