Passion, reason & Canada’s tumultuous Camelot couple in timeshare productions’ stellar Maggie & Pierre

 

 

Kaitlyn Riordan. Set and costume design by Jung-Hye Kim. Lighting design by Oz Weaver. Photo by Stephen Wild.

 

He pirouetted with taut panache. She spun with child-like joy. And we fell in love with them both. timeshare productions presents Maggie & Pierre, by Linda Griffiths with Paul Thompson, in the Tarragon Theatre Workspace, directed by Rob Kempson and starring Kaitlyn Riordan.

Famously performed by the late actor/playwright Linda Griffiths, there’s well-deserved buzz about a passing of the torch in Canadian theatre with this production, as Riordan (also AD of Shakespeare in the Ruff and an emerging playwright herself) takes on this one-woman powerhouse of a play, portraying Prime Minister Pierre Trudeau, Maggie Sinclair and Henry (a reporter following their story).

Henry is our tour guide of sorts, a newspaper reporter who confesses his fascination with this unusual, unlikely relationship, and can’t refuse a request to follow their story. Part of what makes their love story so compelling is the unlikely nature of Maggie and Pierre’s relationship—and not just because of the 30-year age difference. He, a highly intellectual, political animal determined to create a Canada in the image of his idea of a Just Society; and she, an effervescent young woman navigating a world of social change from her well brought up, ‘good girl’ background to the freedom and exploration of the flower child movement, and burgeoning mental illness/mental health advocate. We witness the two seeming opposites in their mutual attraction; following their love affair and marriage from honeymoon period to disillusionment and dissolution—the public’s romance with them running parallel with their own.

Maggie & Pierre
Kaitlyn Riordan as Maggie, Henry and Pierre. Set and costume design by Jung-Hye Kim. Lighting design by Oz Weaver. Photos by Greg Wong.

With physical, verbal and energetic precision, Riordan delivers a stellar performance, shifting seamlessly from one character to another—at times during quick exchanges. As Henry, she gives us a hard-nosed, jaded newspaper scribe; more than a bit embarrassed, like the rest of us, he’s silly in love with Maggie and Pierre and can’t look away. A conflicted professional witness to the relationship, he’s torn between the drive to report what he observes, no matter how unflattering, and the instinct to protect their reputation. Her Pierre is dashing, charismatic and arrogant; and she nails the tight, academic bearing and razor sharp mind. Pierre is the reason in this equation, while Maggie is the passion. Riordan’s Maggie is a lovely mess of self-discovery, confusion, enrapture and authenticity. While there’s humour in her fish out of water experience of the old boys’ world of politics and requisite social events—her increasing discomfort being under the international spotlight is heartbreaking to witness as we realize the toll it’s taking on a fragile soul.

Maggie & Pierre is as much about emerging Canadian identity and our fascination with celebrity as it is about the tumultuous relationship between two seemingly polar opposites. The writing and storytelling style is aptly Canadian: irreverent, insightful, good-humoured and also compassionate. With a luminous performance that’s as captivating, entertaining and charming as the story Riordan’s telling, we can’t look away.

Maggie & Pierre continues in the Tarragon Workspace until May 19; advance tickets available online. It’s an intimate space and an outstanding show, so advance booking strongly recommended.

Coming up: timeshare’s production of Maggie & Pierre will be featured in the Grand Theatre’s (London, ON) 2018/19 season, with a short run February 12-16, 2019.

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Past & present collide as the walls come down in the compelling, intimate Agency

earl-pastko-ben-sanders-and-eva-barrie-in-agency-photo-by-greg-wong
Earl Pastko, Ben Sanders & Eva Barrie in Agency – photo by Greg Wong

Yell Rebel opened its production of Eva Barrie’s Agency, directed by Megan Watson, in The Theatre Centre Incubator space last Thursday; I caught the show last night.

Searching for answers about the fate of her father Peter (Ben Sanders), Hannah (Eva Barrie) arrives at a Berlin travel agency looking for Thomas (Earl Pastko). Armed with conflicting reports and evidence, and only vague memories, Hannah is determined to find the truth. Convinced that her father may still be alive, the man Hannah seeks answers from was her father’s friend and co-worker – and also a Stasi informant. A story woven across time, through the fall of the Berlin Wall and the historical reunification of Berlin, Agency shows us a world of greys – where nothing is as simple as it appears to be, and where good intentions can come to haunt and hurt.

Shifting across time and space, Agency plays out in intimate two-handers: mainly between Hannah and Thomas in the present, and Thomas and Peter in the past; in some cases, overlapping on the playing space as Thomas recalls a conversation with Peter as he speaks with Hannah.

Lovely, strong work from the cast here. Pastko’s Thomas acts as the bridge between past and present; unflinchingly calm and introverted, there is a kind sweetness beneath that gruff, old-school exterior. An adept spy, he’s struggled to find a way to use his covert talents for good. Barrie’s Hannah is all youthful, haunted energy; fragile and uncertain for all her bravado and research, she longs for the truth and gets more than she bargained for. And Sanders gives us an optimistic, charming and extroverted Peter; acting on instinct and hoping for the best, Peter’s sense of hopefulness and love is put to the test.

In his or her own way each is seeking reconciliation and redemption through these revelations. And, like the birds that repeatedly fly into the agency office windows, they’re butting up against the invisible walls that keep them apart.

Past and present collide as the walls come down in the compelling, intimate Agency.

Agency continues in The Theatre Centre Incubator until Nov 20; get your tix in advance online. Please note the early start times: 7 p.m. for evening performances and 1 p.m. for matinées.

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