Classic Canadian Gothic comes home in the quirky, magical, lyrical Trout Stanley

Natasha Mumba, Stephen Jackman-Torkoff & Shakura Dickson. Set & costume design by Shannon Lea Doyle. Lighting design by Raha Javanfar. Photo by Joseph Michael Photography.

 

Claudia Dey’s Canadian Gothic classic Trout Stanley comes home to Factory Theatre for a new production, cast through an African Canadian immigrant lens, directed by Mumbi Tindyebwa Otu, assisted by Coleen MacPherson—opening last night in the Mainspace. Quirky, magical and lyrical, twin sisters celebrating their 30th birthday—the same day their parents died 10 years ago—find an unexpected guest in their secluded house in the woods. Love, family and devotion are assessed and put to the test as relationship dynamics evolve in hilarious and poignant ways.

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Shakura Dickson & Natasha Mumba. Set & costume design by Shannon Lea Doyle. Lighting design by Raha Javanfar. Photo by Joseph Michael Photography.

Set in 1990s rural B.C., twin sisters Sugar (Shakura Dickson) and Grace (Natasha Mumba) Ducharme have only had each other since their parents died on their birthday 10 years ago. The introverted Sugar hasn’t left the house since, and refuses to stop wearing their mother’s track suit; while extrovert Grace dons a stylin’ mauve jumpsuit and goes to work at the town dump every day, scoring the occasional print modelling gig—including a recent billboard ad. It’s their 30th birthday; and along with the tragic memory of their parents’ deaths, the date seems to be extra cursed. Every year since they were orphaned, a woman in the area who shares their birthday has gone missing and turned up dead, found by Grace. And this year, the Scrabble Champ stripper has disappeared on her way home from work.

Things get even stranger when an unexpected guest on a mission turns up at the twins’ secluded house in the woods: a young, handsome-ish man with the unlikely name Trout Stanley, who we soon learn has much in common with the sisters—and who is immediately and inexplicably drawn to Sugar. Like the twins, he was orphaned and has set out on foot, searching for the lake where his parents drowned—and now he’s lost. But, with a possible murderer on the loose, can Sugar and Grace trust him?

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Stephen Jackman-Torkoff. Set & costume design by Shannon Lea Doyle. Lighting design by Raha Javanfar. Photo by Joseph Michael Photography.

Outstanding work from the cast in this captivating, mercurial, lyrical three-hander; playing characters that are all both feral and fragile in their own way. Dickson brings an adorable child-like sweetness to the soft-spoken, broken-hearted Sugar; singing snatches of made-up songs, and singing and dancing to her mother’s old Heart record, Sugar lives in a world of her own, surrounded by dozens of the tragic biographic figurines she used to make (shouts to set designer Shannon Lea Doyle for the beautiful, detailed set of the Ducharme home). Mumba brings a self-confident swagger and fierceness to Grace; entertainingly vain and ferociously protective of Sugar—her polar opposite and perfect complement—Grace more than lives up to her nickname of Lion Queen. The world the sisters have created together is a poignant and unique combination of tender personal rituals and pragmatic harsh realities. For Sugar, the world is full of nostalgia, music and magic; drawn to the macabre, it’s the everyday moments that overwhelm her. Grace sees and smells the hardness of the world every day, but still manages to find wonder and beauty—even at the dump. Jackman-Torkoff is a playful, puckish delight as Trout Stanley; mercurial and impish, Trout is part wild man, part philosopher, part poet. He has big feelings and huge dreams; unflinching in his cause, his encounter with the sisters changes him too. As unexpected as his lost boy arrival is for the twins, what he finds is both new and surprising.

This fairy tale-like adventure plays out with memory, heart and singular individuality as all three characters reveal their secrets and find a way to move on with their lives.

Trout Stanley continues in the Factory Theatre Mainspace until November 10; advance tickets available online or by calling the box office at 416- 504-9971.

In the meantime, check out Phil Rickaby’s Stageworthy Podcast interview with actor Shakura Dickson.

 

 

SummerWorks: Joy, energy & pathos in If Hearts Could Bloom

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Amy Wong & Tamara Kailas

Another delightful group of young actors opened their SummerWorks show at the Scotiabank Studio Theatre at the Pia Bouman last night: the Sears Drama Festival production of Bur Oak Secondary School’s show If Hearts Could Bloom, written by James Croker and Cameron Ferguson, inspired by a story by Preston Lam.

Directed by Ferguson, with choreography by Ferguson, Croker and Christel Bartelse, and film directed by Cody Clayton, If Hearts Could Bloom combines clown, comedia and physical theatre to tell a story that tackles some serious issues: individuality/conformity, bullying/courage, sexism and harassment, ageism, greed and power, and gender identity.

A short, silent film sets the stage for the social order of this world. A Mad Scientist (Jeremy Chong) creates clowns with yellow hearts, but when he tries something different – a purple heart that makes the clown behave differently than the others – Corporate Greed Man (Jeremy Tremblett) responds with an emphatic No! The Mad Scientist caves in, apparently needing the money, and goes back to using yellow hearts. And off we go, into the live onstage journey of a special young clown, born with a purple heart.

There are some truly lovely moments in this show: the sweet, fast-paced meeting, courtship, marriage and arrival of a baby for Everyperson’s Mom (Kainaat Rizvi) and Dad (Cody Clayton) – and the delivery scene with the Doctor (Shareesa Haniff) was hilarious. And Everyperson (Tamara Kailas) and Everywoman (Amy Wong) had an equally adorable meet cute at a children’s birthday party, where Everywoman is the only kid who doesn’t think Everyperson is a freak; the two actors did a lovely job with this bashful, burgeoning relationship. I also loved the school bus bit and the clown Elvis (Bianca Dias, who also co-directed the film segment) at the variety show, as well as the squeals of delight from Everyperson’s rubber chicken bit – the laughter was contagious. This is a show that keeps the audience engaged and attentive, and you never know what’s going to happen next. Ultimately, this is a show about love and courage.

If Hearts Could Bloom is a hilariously funny, sweetly poignant and thought-provoking multi-media clown show, featuring a bright young cast who bring all the joy, energy and pathos.

If Hearts Could Bloom continues its run for two more performances at the Scotiabank Studio Theatre at the Pia Bouman: tonight (Fri, Aug 15) at 7:30 p.m. and Sat, Aug 16 at 1:30 p.m.