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.

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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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A young hero’s quest for identity in the delightful, inspiring all-ages musical Rose

Rose ensemble, with Hailey Gillis centre. Set, lighting & projection design by Lorenzo Savoini. Costume design by Alexandra Lord. Photo by Cylla von Tiedemann.

 

Soulpepper continues its Family Festival programming with the world premiere of Rose—a brand new original musical three in years in the making, adapted from Gertrude Stein’s only children’s book The World Is Round. With music and book by composer and music director Mike Ross, and lyrics and book by Sarah Wilson; directed by Gregory Prest, assisted by Jennifer Weisz; and choreographed by Monica Dottor, this delightful, inspirational story follows the journey of the nine-year-old titular hero as she sets off in search of her identity. Rose opened at the Young Centre last week; I caught the matinée yesterday.

Narrator Frank the logger (Frank Cox-O’Connell on guitar) and logger bandmates Buddy (John Millard on banjo) and Jessie (Raha Javanfar on violin) welcome us to the town of Somewhere, where everyone likes to say their name and tell you all about themselves. Only the quiet, introverted Rose (Hailey Gill) just can’t seem to say her name, no matter how hard she tries, or how much encouragement she gets from her outgoing BFF Willie (Peter Fernandes) and faithful dog Love (Jonathan Ellul). Rose is a thinker who believes a name means a lot—and she has questions. And maybe the answers to those questions will help her sort out her predicament. After all, how can she say her name when she doesn’t know who, what, where, when or why she is? Mocked by classmates who view her as a weirdo, but determined to learn, she asks her teacher Miss Crisp (Sabryn Rock), who encourages her to try something new.

Rose takes this advice to heart and chooses a different direction, trying on a new, wild personality in the process—a decision that puts her friendship with Willie in jeopardy and further isolates her from her community. Then, inspired by the idea of getting a new perspective from the local mountain top, she sets off alone to climb it to see if she can find her answers there—and ultimately, the voice to say her name.

A tale of navigating life’s contradictions and weirdness, Rose is about love, acceptance and being true to yourself—and the resilience, determination, faith and hope required in the search for the answers to life’s questions. Even if things don’t work out the way you’d hoped or expected, the journey’s the thing. And, oh the places you’ll go, within and without yourself, when you step out of your comfort zone and try something new—all while recognizing and respecting your limits.

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Hailey Gillis. Set, lighting & projection design by Lorenzo Savoini. Costume design by Alexandra Lord. Photo by Cylla von Tiedemann.

Gillis shines as our young hero Rose, giving an engaging, thoughtful and vulnerable performance as the not so little girl on a big mission. Shy, awkward and pensive, Rose longs to say her name and is driven to crazy lengths to find it within herself to do so. Gillis’s performance resonates in a deep, honest way; we’ve all felt lost and out of step with our lives at times—and identity is an ongoing evolution as we continue to explore our talents, desires and boundaries. Fernandes is an energetic treat as the confident extrovert Willie; the perfect match to the quiet Rose, Willie enjoys life’s simpler pleasures—but even he finds himself starting to ask questions. Ellul makes an adorably sweet and goofy canine pal with the loyal Love; struggling to be heard himself, even Love manages to push past his communication boundaries.

This multimedia, multidisciplinary musical features a multi-talented, multi-tasking ensemble, most of whom play several roles; not previously mentioned are Troy Adams, Michelle Bouey, Alana Bridgewater, Oliver Dennis and Raquel Duffy. Stand-outs include Bridgewater’s fierce Tina Turner-esque turn as the Lion Woman, in a powerhouse performance executed with style and impressive vocal chops. Grown-ups of a certain age will recognize Dennis and Duffy’s hilarious nod to Body Break as Trevor and Beth the Gym Buffs; and Dennis brings rock star charisma and presence as Billie the Lion. Rock gives us an endearing, comic performance as Miss Crisp, the patient, put-upon, high strung teacher.

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Raha Javanfar, Frank Cox-O’Connell & John Millard (foreground), with Raquel Duffy, Oliver Dennis, Peter Fernandes & Scott Hunter (background). Set, lighting & projection design by Lorenzo Savoini. Costume design by Alexandra Lord. Photo by Cylla von Tiedemann.

The music makes a joyful noise—inspired by blue grass, folk, gospel, rock and traditional musical theatre—and features a tight onstage band in addition to the three musician loggers: Scott Hunter on bass, James Smith on keys and Adam Warner on drums. The songs will have your heart singing and get you on your feet as you cheer for Rose along her journey. Visually spectacular and sporting a vibrant palette, Lorenzo Savoini’s imaginative and practical set, lighting and projection design, and Alexandra Lord’s playful costumes, add to the magic.

Truly a musical for all ages, Rose has something for everyone—and, like the Lion Woman, you may even see yourself in our young hero. A name really does mean a lot. Say yours loud and proud!

Rose continues at the Young Centre until February 24; advance tickets available online or by calling the box office at 416-866-8666 or 1-888-898-1188.

ICYMI: Check out this Intermission Spotlight by Robert Cushman on Mike Ross.

And here’s the production teaser:

 

Tea time at the end of the world in the surreal, intimate, unsettling Escaped Alone

Clockwise, from bottom left: Brenda Robins, Clare Coulter, Maria Vacratsis & Kyra Harper. Set & costume design by Teresa Przybylski. Lighting design by Jennifer Lennon. Photo by Cylla von Tiedemann.

 

Soulpepper and Necessary Angel, with an all-female cast and production team, take us to the edge of calamity—in a suburban backyard where four 70-something neighbours chat over tea before the impending apocalypse—with the Canadian premiere of Caryl Churchill’s surreal, intimate and unsettling Escaped Alone, directed by Jennifer Tarver and running at the Young Centre.

Gathered in a backyard, Mrs. Jarrett (Clare Coulter), Vi (Brenda Robins), Lena (Kyra Harper) and Sally (Maria Vacratsis) share gossip, memories and catch up. There are children and grandchildren to update about, and changes to the landscape of local shops to recall and relay—especially for Vi, who’s been away for six years. And amidst the candid and intimate conversation, where one can finish another’s sentence and the short-hand is such that sentences sometimes don’t even need to be finished, each woman breaks out to share her inner world. Her fears, her regrets, her reminiscences.

It is in these moments that we see another side of these otherwise sociable, animated women. Mrs. Jarrett is a walking, talking 21st century Book of Revelations, in which the everyday and the terrifying combine in an absurd, horrific and dark-humoured alchemy. Vi, a hairdresser by trade, may or may not have killed her husband in self-defence; and, while Sally acknowledges the complexity of their situation, she has a different take on that fateful moment. Sally struggles with her own demons: her efficacy in her career as a health care professional and her fear of cats. And the sensitive Lena looks back on her life as an office worker with mixed feelings of vague, wistful regret and amazement at time flown by.

Told through a collage of conversation, memory, musings and peaks into these women’s interior lives, the mundanity and complexity of everyday life—juxtaposed with the absurdity of meeting over tea in the face of impending catastrophe—is both darkly funny and chilling. The uncertainty of what comes next—whether it’s impending calamity threatening the world at large or the aging mind in a life of transition—while these four women are gathered together in friendship, each faces her mortality alone.

Compelling, sharply drawn work from the ensemble, from Coulter’s grouchy, pragmatic Mrs. Jarrett; to Robins’ edgy, irreverent Vi; Harper’s nervous, child-like Lena; and Vacratsis’ earnest, uneasy Sally. Teresa Przybylski’s minimalist set combines four ordinary, but different, chairs with hundreds of white paper birds, frozen in murmuration, suspended above; and is nicely complemented by Verne Good’s understated, haunting sound design. The effect is magical, disturbing and ultimately theatrical.

Escaped Alone continues at the Young Centre until November 25. Get advance tickets online or call the box office: 416-866-8666 or 1-888-898-1188.

Check out the production teaser:

And have a look at this great Intermission piece by actor Maria Vacratsis, as told to Bailey Green.

Freedom of expression & political oppression in a digital age in the chilling, intersectional, provocative Theory

Sascha Cole. Set & lighting design by Joe Pagnan. Projection design by Cameron Davis. Costume design by Michelle Bohn. Photo by Cylla von Teidemann.

 

Under what circumstances should freedom of expression be censored or policed? At what point does politics, however liberal or progressive, become unforgiving and oppressive? Tarragon Theatre’s production of Norman Yeung’s Theory, directed by Esther Jun, assisted by Stephanie Williams, examines the impact of film and social media on modern-day discourse through an intersectional lens, where academia meets art—with chilling and provocative results.

I saw the genesis of Theory, first as a reading at Alumnae Theatre’s New Ideas Festival and then as a full production at SummerWorks, back in 2010. It appeared again at Alumnae during FireWorks Festival 2013—at which point, at the suggestion of dramaturge Shirley Barrie, lead character Isabelle’s boyfriend was re-written as a female character. I missed the 2013 production, but was happy to see the evolution of the piece in the current Tarragon presentation, where Isabelle has a wife who is also a person of colour.

Rookie film studies prof Isabelle (Sascha Cole, in the role from the very beginning) has set up an online message board off the campus server—a bit of a rogue move that becomes even more so with an ‘anything goes’ policy. Her film theory students will self-moderate and there are no plans for censorship. And, in a classic Dead Poets Society moment, she has her students tear out the film screening list from the syllabus—full of white male directors—and replaces it with a more diverse, contemporary list. Even her core group of vocal, engaged students—Davinder (Bilal Baig), Safina (Asha James), Richard (Kyle Orzech) and Jorge (Anthony Perpuse)—have questions and misgivings about the nature of the message board and revised film list, which includes the controversial Baise Moi, translated into Rape Me in an English release.

Isabelle’s wife Lee (Audrey Dwyer)—a Black, tenured prof at the same university—also has reservations about the student message board; and like her, one can’t help but wonder if Isabelle is trying too hard to look cool and connect with her students as adults and academics. Racist and homophobic remarks begin to emerge on the message board—presented onstage via projection (design by Cameron Davis)—some of which are directed at other students.  And, while Isabelle insists that nothing offends her and refuses to censor the board—viewing the remarks in the context of fodder for adult, academic conversation and exploration—some of her students don’t see it that way.

Video messages start appearing, at first referencing films the class is studying, then getting increasingly graphic and violent, and directed toward Isabelle. Becoming obsessed with finding out who the perpetrator is, the strain on Isabelle and her relationship with Lee starts to show; she keeps putting off their plans to have a baby and starts spending an inordinate amount of time on the message board.

As the messages get more personal and close to home, showing up in her personal email, text messages and even on her doorstep, Isabelle blocks a user called @Richard69 and turns to department head Owen (Fabrizio Filippo) to see if she can launch a complaint or investigation to learn the identity of the student. It’s during this meeting that she learns there’s been a complaint launched against her. Isabelle begins to suspect the culprit is among her core group of students, but has no solid proof.

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Sascha Cole & Audrey Dwyer. Set & lighting design by Joe Pagnan. Projection design by Cameron Davis. Costume design by Michelle Bohn. Photo by Cylla von Teidemann.

Outstanding work from the cast in this chilling multi-media psychological thriller. There’s a taut scholarly edge in Cole’s performance of Isabelle; and an awkwardness in Isabelle’s attempts to connect with her students on a laid back, personal level. Under pressure to make tenure, Isabelle must walk the line between provoking thought and keeping her students and  superiors happy. Dwyer’s good-humoured academic veteran Lee goes beyond being a great foil and complement to Cole’s Isabelle—she’s the sociopolitical conscience in the relationship and in the piece. A supportive and nurturing partner, Lee has no trouble calling Isabelle out when she’s neglecting their relationship or forgetting to check her privilege. Filippo gives a great turn as the cool guy department head Owen; like Isabelle, he’s invested in keeping everyone happy—but his flip, hip dude exterior belies the institutional administrator who must also answer to higher powers in the university.

Really nice, sharply drawn work from the student chorus. Baig’s sassy, queer South Asian Davinder and James’ earnest, politically aware Safina (Asha James), who is Black, are particularly aware of and sensitive to the homophobic and racist remarks posted online; and Safina is uncomfortable with some of the course content. Both are open and willing to expand their minds and engage in debate; but they understandably draw the line at hate messaging. Perpuse brings a fun class clown energy to Jorge, who posits that porn should be given equal consideration with other genres. And Orzech’s nerdy, curious Richard seems affable enough, but there’s a dark undercurrent to this curious, white kid as he pleads “context” to his observations on films featuring storytelling filtered through a racist lens.

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Bilal Baig, Anthony Perpuse, Asha James, Kyle Orzech & Sascha Cole. Set & lighting design by Joe Pagnan. Projection design by Cameron Davis. Costume design by Michelle Bohn. Photo by Cylla von Teidemann.

Isabelle realizes that she’s underestimated the power of a digital media and the accompanying anonymity of user names, which make for an easy, consequence-free platform for hate speech and intolerance; and she’s forced to examine her inconsistent handling of conversation that veers toward hate speech. Her progressive feminist liberal politics and attempts at provoking thought have pushed buttons and opened a Pandora’s box of alt-right ill will. Is she complicit in fostering oppression by holding back on deleting racist and homophobic comments? Timely in its recognition of alt-right backlash, Theory reminds us of the inevitable pendulum backswing on progressive sociopolitical change.

Theory continues in the Tarragon Extraspace until November 25. Get advance tickets online or by calling the box office at 416-531-1827.

Love, sacrifice & the heartbeat of time in the delightful, poignant Sisters

Laura Condlln & Nicole Power. Set design by Michelle Tracey. Costume design by Erika Connor. Lighting design by Kimberley Purtell. Photo by Cylla von Tiedemann.

 

Soulpepper opened its striking world premiere of Rosamund Small’s delightful, poignant Sisters—a story of love, family, sacrifices and the march of time—to an enthusiastic full house last night. Inspired by Edith Wharton’s novella Bunner Sisters and directed by Peter Pasyk, Sisters is running in the Michael Young Theatre at the Young Centre.

It’s the turn of the century in New York City, and sisters Ann (Laura Condlln) and Evelina (Nicole Power) live quiet, regular lives, working and living in a small shop, selling notions and jams, and providing sewing services. Both are single at an age that would label them as spinsters; and their small, humdrum workaday lives get a spark of excitement when Ann buys a clock for Evelina’s birthday—and both become enamoured with the quiet, charming clockmaker Ramy (Kevin Bundy). Adding to the fun is their observant friend and neighbour, Mrs. Mellins (Karen Robinson), a widowed dressmaker who lives upstairs.

Torn between her feelings for Ramy and love for her sister, Ann steps aside to make room for a match between Ramy and Evelina—a decision made all the more heart-wrenching when Ramy takes a job in St. Louis, taking his new wife with him and leaving Ann to run the shop alone. Dependant on return customers and referrals from more privileged ladies—like the affable Lady with the Puffy Sleeves (Ellora Patnaik) and the wealthy, entitled Customer (Raquel Duffy)—Ann and Mrs. Mellins are also facing a new wave of industrialization; one in which much of the textile industry will be mechanized, with factories churning out large amounts of pre-made, less expensive off-the-rack goods. Dealing with the separation as best as she can, when Evelina’s letters stop coming and her letters come back return-to-sender, Ann sets on a search for Evelina’s whereabouts; and with the help of Mrs. Mellins, gathers some troubling information about Ramy in the process.

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Karen Robinson, Laura Condlln & Nicole Power. Set design by Michelle Tracey. Costume design by Erika Connor. Lighting design by Kimberley Purtell. Photo by Cylla von Tiedemann.

Lovely work from the cast in this tale of everyday heroism and perseverance in the face of longing, heartbreak and loyalty. Condlln is heartbreaking and inspiring as the older sister Ann; practical and better with the accounts than she is with the creative side of the business, Ann puts her own desire for romance aside to make her sister happy. Power (who Kim’s Convenience fans will recognize as Jung’s quirky boss Shannon) is a day-dreamy spitfire as younger sister Evelina; bored and skeptical that things will get better, Evelina is more pessimistic than her sister—but is able to see colours in music and match the perfect accessories to a dress. Robinson (who Schitt’s Creek fans will recognize as Ronnie Lee) is a treat as Mrs. Mellins, performing with gusto and impeccable comic timing; while she has a morbid fascination in the seedier side of the city, Mrs. Mellins’ penny dreadful notions of life outside the shop make way for sage advice and motherly watchfulness over the sisters. And Bundy seduces as the reserved, gallant German clockmaker; shy, sickly and precise, Ramy is a mystery man of changeable temperament—which perhaps makes him all the more attractive.

The perspectival, display case-like set with a raked floor (Michelle Tracey), atmospheric lighting (Kimberly Purtell), stunning period costumes (Erika Connor) and haunting music box music (Richard Feren) make for an aesthetically pleasing, finely honed view of this world.

Sisters reminds us of the precarity of life for working women; reliant on men and those who are better off in general to make something of their lives. And of the saving grace of love, hope, faith and determination—with a little help from family and friends.

Sisters continues at the Young Centre until September 16. Get advance tickets online or call the box office: 416-866-8666 or 1-888-898-1188.

Love, family & home in the heartwarming, hilarious Bed & Breakfast

Paolo Santalucia & Gregory Prest. Set design by Alexandra Lord. Costume design by Ken MacKenzie. Lighting design by Bonnie Beecher. Photo by Cylla von Tiedemann.

 

Soulpepper takes us on a heartwarming, hilarious gay pioneering adventure of love, family, community and belonging with its deftly staged production of Mark Crawford’s Bed and Breakfast. Featuring a cast of nearly two dozen characters, performed by two exceptional actors, this poignant comedy directed by Ann-Marie Kerr is running now at the Young Centre.

City boys Brett (Gregory Prest) and Drew (Paolo Santalucia) long to get out of their Toronto condo and into a house they can call home; but despite the best efforts of their flamboyant real estate agent friend Ray (Prest), they continually find themselves on the losing end of cut-throat bidding wars. All that changes when they attend Brett’s aunt Maggie’s funeral and learn that she’s left her large small-town Victorian house to him. Brett, who works as an interior designer, and Drew, who works as a hotel concierge, decide to join forces professionally, go for a total lifestyle makeover and hatch a plan to move in, renovate and open a hip, contemporary B&B.

Easier said than done, as Brett and Drew are two gay fish out of water in a conservative small town. On the plus side, Brett has some knowledge of the town and people from his youth, having stayed with Maggie during the summer, and working with local contractor Doug (Santalucia). It doesn’t take long to find who their supporters are, but opponents are more cowardly and closeted. And, despite all efforts to engage with the community as they pitch in to help with the Santa Claus parade, there’s a cruel streak afoot in the town and the initial hostility they face escalates into something more disturbing. Soldiering on with the support of new friends and their commitment to the project, Brett and Drew persevere.

Chaos and hilarity ensue during the B&B’s opening weekend, when the guys host a Brit couple (Prest & Santalucia), a right-wing activist (Prest) and a pair of newlyweds (Santalucia)—plus deal with assorted emergencies and adopt a rambunctious puppy. They stumble through with a little help from their newfound friends—delightfully hippy dippy café owner Alison (Prest) and her Irish motorcycle-driving partner Chris (Santalucia), bubbly local real estate agent Carrie (Santalucia) and emo teen son Dustin (Prest), and even the tough, homophobic Doug and Brett’s sullen teen nephew Cody (Santalucia). But when Carrie informs them that she has a buyer willing to pay an obscene amount of money for the B&B, Brett and Drew have a tough decision to make—one that gets more complicated as family confessions and revelations emerge.

Outstanding, marathon performances from real-life couple Prest and Santalucia; creating a complementary pair of opposites with Prest’s more private, soft-spoken, circumspect Brett and Santalucia’s out, proud and extroverted Drew. And all this in addition to the sharply drawn, compelling, physically demanding performances as they each turn on a dime to deliver a cast of multiple characters in this tightly staged production. The design supports the story and staging both aesthetically and practically: Alexandra Lord’s multi-purpose airy set features Victorian architecture highlights; Ken MacKenzie’s spot-on, minimalist costume design; Bonnie Beecher’s magical, atmospheric lighting design; and sound design that features music by gay favourites, courtesy of John Gzowski.

The insightful, witty storytelling in Bed and Breakfast goes beyond the differences between gay and straight, and urban and small-town folks. It reminds us of the universal longing for a place where you belong, with people who accept you for who you are. Home is where your loved ones are; and the families we choose are just as potent—if not more so—as the ones we grew up with.

Due to popular demand during the first week of the run, Bed & Breakfast has been extended to September 8. Get advance tickets online or call the Young Centre box office: 416-866-8666 or 1-888-898-1188.

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.

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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.