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.

Toronto Fringe: Millennials surviving working & adulting in the lighthearted, satirical Above & Beyond

Seated: Tatyana Mitchell & Natasha Ramondino. Standing: Felix Beauchamp, Rabiya Mansoor, Andrea Irwin & Francis Masaba. Set and costume design by Jules Mendoza. Photo by Angela Sun.

 

JackieTol Productions gives us a lighthearted, satirical look at slogging it out in an office cubicle as two Millennial pals try to survive working and adulting in Jaclyn Toledano’s Above & Beyond, directed by Rebecca Ballarin and running in the Robert Gill Theatre.

BFFs Jamie (Tatyana Mitchell) and Nicole (Natasha Ramondino) are sales reps at Bright Star Tours, a travel agency that specializes in educational tour packages for schools. Former employees of Oyster Tours, Bright Star’s biggest competitor, Jamie is killing it at their new company, while Nicole—who used to also rock—is now struggling. Both are dying of boredom at this dead-end job, but Jamie’s able to play the game; Nicole not so much.

Added to the mix are their warm, technically-challenged boss Tracey (Andrea Irwin), and colleagues Steph the go-getter (Rabiya Mansoor), macho dude Brett (Francis Masaba) and charmer Jared (Felix Beauchamp). We also get a glimpse into Oyster Travel, a larger organization with a more corporate vibe, and their shark-like staff (played variously by Mansoor, Irwin, Beauchamp and Masaba)—who are stunned and perplexed that smaller fish Bright Star is outperforming them. Could it be that former employees Jamie and Nicole are now Bright Star’s secret weapons? And what’s the deal with Tracey’s hard-ass replacement Andrea (also played by Irwin)?

From soul-destroying moments on the job, to presentations, holiday parties and advice on Tinder swiping, anyone who’s worked in a cubicle farm will certainly recognize these characters and workplace situations—and shouts to the cast for their sharply drawn work. Mitchell and Ramondino are nicely matched, with Mitchell’s chill Jamie taking their situation in stride, her friendly out-going nature endearing her to the teachers she pitches to. But being too easy-going can land you in trouble sometimes. Ramondino’s Nicole is reminiscent of Anna Kendrick in Pitch Perfect; wry-witted and cynical, she’s wondering WTF she’s doing there and if it’s the right place for her—and if she’ll ever get her sales groove back.

Outstanding character work from Irwin, switching from the amiable, supportive boss Tracey, to the sharp corporate Oyster employee, to the scary mean girl boss Andrea and the sweet, protective teacher Helen. Mansoor brings big LOLs as Steph the uber keener; you know the type, and you’re never quite sure if it’s all a put-on or if they’re really that into their job. Masaba also brings the comedy as the office’s bro about town Brett; full of himself and utterly clueless about how he comes across, Brett is clearly enjoying his cruise through work and life. And Beauchamp is adorably charming as Jared, bringing just the right amount of slick to make you wonder if he’s actually a good guy or not.

It’s fun, it’s relatable—and you may find yourself asking if you’re living to work or working to live. And sometimes, it takes a little while to get your work groove back.

Above and Beyond continues at the Robert Gill Theatre to July 13. Check the show page for exact dates/times and advance tickets.