Love, marriage, friendship & infidelity in the intensely intimate, brilliantly executed Betrayal

Virgilia Griffith & Ryan Hollyman. Set & costume design by Ken MacKenzie. Lighting design by Rebecca Picherack. Photo by Dahlia Katz.

 

Soulpepper rounds out its summer programming with its intensely intimate, brilliantly executed production of Harold Pinter’s Betrayal, directed by Andrea Donaldson and running at the Young Centre. A compelling look at intricate, overlapping webs of lies and deceit, it’s a fascinating look at the dynamics of love and infidelity between a husband and wife, and the husband’s best friend—and the subsequent impact on the marriage, the friendship and the affair itself. Told in reverse chronology, we start with a meeting two years after the affair has ended and go back in time to finish at the moment it was initiated.

When we first see Emma (Virgilia Griffith) and Robert (Ryan Hollyman), they’re meeting for a drink two years after the end of their affair. Robert, also married with children, is the best friend of Emma’s husband Robert (Jordan Pettle). What follows is a brief history of the relationship, shifting from this somewhat awkward meeting, to the break-up, to the revelation, and back through the pseudo-domestic bliss of afternoons spent at their furnished apartment oasis, to the moment the affair starts. We also see Robert and Jerry spending time together, including their favourite Italian restaurant, where they’re served by a waiter who clearly knows them as regulars (Paolo Santalucia, delightfully familiar with an edge of attitude). Questions of who knew what and when are revealed, concealed and lied about throughout, with selective candour emerging at pivotal moments—by chance or on purpose?

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Ryan Hollyman & Jordan Pettle. Set & costume design by Ken MacKenzie. Lighting design by Rebecca Picherack. Photo by Dahlia Katz.

Stunning performances all around in this tight, sharply drawn Pinter favourite. The three main characters are very smart—both culturally and intellectually—and, coupled with the fact that they’re all professionals in the British arts and culture scene, the cool, polite and cerebral nature of their banter-filled interactions belies the fiery, devil-may-care, primal passions within—and the accompanying loneliness and ennui that lead them astray. Griffith brings a self-possessed air of confidence to independent and enigmatic Emma; the most pragmatic and level-headed of the affair pairing, Emma’s participation seems to come more from a place of loneliness than passion. Hollyman’s Jerry is an affable combination of wit, enthusiasm and cluelessness; a man with a “talent for finding talent”, Jerry pursues Emma with the lyrical passion of a university freshman—then gets upset when he learns that his best friend knows he’s been having it off with his wife. This hypocrisy extends to Robert, played with cool, poker-faced detachment by Jordan Pettle; with razor-like precision, Robert reveals little and conceals much—and has been having affairs himself, possibly out of a sense of marital ennui.

Starting in 1977 and ending in 1968, the brilliant reverse chronological structure not only acts as a compelling rewind on the relationships, but serves as hindsight wisdom. The finely-tuned energy and pacing of the performances create the feeling of a fire gone out at the beginning, to a dying ember, to a spark at the beginning—a spark that, one imagines, has emerged from the dying embers of the two marriages. It is a thrilling, guilty pleasure to witness; and the up-close-and-personal intimacy of the piece makes the audience feel complicit in the cheating. And the outstanding efforts of the design team transport us to both time and place with impeccable attention to detail and flare: the teak furniture and print designs of Ken MacKenzie’s set and costumes; the enjoyable mix of late 60s and 70s music for the pre-show, and gripping original soundtrack from sound designer/composer Richard Feren; and Rebecca Picherack’s sharp, focused and atmospheric lighting design.

Betrayal continues at the Young Centre until September 25, the run was extended due to popular demand; advance tickets available online, or by calling the box office at 416-866-8666 or 1-888-898-1188. This is an extremely popular production, with a packed house on a Tuesday night, so advance booking is strongly recommended.

ICYMI: Jordy Kieto interviews director Andrea Donaldson about the production in Intermission Magazine.

Department of Corrections: In the original posting, I neglected to mention actor Paolo Santalucia’ performance as the Waiter; this has been corrected.

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SummerWorks: Reaching back through time & memory in search of home in the endearing, poignant hiraeth

Mandy E. MacLean. Lighting design by Logan Raju Cracknell. Photo by Matt Carter.

 

The hiraeth collective’s hiraeth, created and performed by Mandy E. MacLean, and directed for this SummerWorks production by Leah Holder, takes the audience on an intimate solo show personal history tour of teenage memories, with a longing for identity and a sense of belonging at the heart of the storytelling. Nostalgic, wistful and endearing in its humour and poignancy, it’s a reminder that you can’t really go home again, but you can visit for a brief time and maybe even take away something new. hiraeth opened at the Media Arts Centre in the Gamma Gallery yesterday afternoon.

MacLean joins the audience in the round, bursting with nervous energy and apology. A soldier’s kid who grew up in a Canadian Forces PMQ (Private Military/Married Quarters), as an adult, she searches through the dark of the basement, shouting to her mother upstairs as she rummages through storage containers to find her packed away stuff in a garbage bag. This personal archeological dig through the past reveals cassette tapes of teen journaling and music favourites—taking her back to a younger self who overheard parental arguments and feared for her father’s safety.

An awkward, bespectacled middle schooler nicknamed “Dung Beetle” by a mean girl classmate, and experiencing those awkward, wonderful first crush feels for a boy named Michael, she’s also navigating the excitement and concerns about the upcoming Y2K New Year and the big changes she anticipates it will bring. A flashlight becomes a male friend—not her boyfriend—and her other hand, wearing her glasses, becomes herself as she re-enacts a first kiss and later dancing at the New Year’s Eve party. Her heart set on the ever-evasive Michael, that first kiss was merely a practice run for him, and she’s painfully aware and wary of advancing her already precarious social standing by any assumptions that she was with a “loser”.

It’s an intimate, immersive experience—where the audience becomes her confidantes, fellow party goers and even her mother—as MacLean includes and addresses us directly while mapping out the scary, awkward, confusing and marvelous moments from her life as a teen; in search of home and identity, and mourning what was and what could have been, in an endearingly funny, vulnerable and poignant performance.

“Hiraeth” is a Welsh term for a feeling of homesickness for a home you can’t go back to—or maybe never even existed. Part nostalgia, part grief experience, part interior journey, hiraeth lives up to its name. You can’t go home again—and the trip you take through memory and personal artifacts maybe only highlight what you took with you. But maybe the attempt can unearth something new.

hiraeth continues in the Toronto Media Arts Centre Gamma Gallery (second floor, hang a hard right when you get to the top of the stairs) until August 17; check the show page for exact dates/times. Tickets available online or in person at the box office; seating is limited, so consider booking ahead.

Identity, recognition & family in the fascinating, moving, intimate Canadian Rajah

Jon De Leon & Barbara Worthy. Costumes by Jennifer Triemstra-Johnston. Photo by Kelsi Dewhurst.

 

The Canadian Rajah Collective presents the world premiere of Dave Carley’s Canadian Rajah, directed by Sarah Phillips and running in the ballroom at Campbell House Museum; it’s the true story of Esca Brooke, the first-born son of one of the White Rajahs of Sarawak who was whisked away as a small child and into the care of an English vicar and his wife, who eventually settled in Madoc, Ontario. This fascinating, moving and intimate two-hander gives a fly-on-the-wall perspective of the history, memories and motivations observed by Brooke and his father Rajah Charles Brooke’s English wife Marguerita (Ranee Ghita), culminating in a tension-filled and revelatory meeting at her home in England.

Canadian Rajah begins with two individual pieces of personal storytelling as Esca Brooke (Jon De Leon) waits and his white Rajah father’s English wife Ranee (Barbara Worthy*) prepares and stalls in advance of their meeting at her home in England. Each fills in the events that transpired before and after Esca’s birth; and the subsequent discovery of his identity and his pursuit of recognition from her are revealed from very different perspectives.

Esca is a brown boy raised by the white British Daykins in Canada, an object of curiosity and gossip in his adopted country. Earning scholarships and respect in his academic and professional endeavours despite his otherness—and aided by the addition of the second name Brooke—he discovers that his mother was Dayang Mastiah, a Malay princess, and his father was the white British Rajah of Sarawak, Charles Brooke. Ranee was Brooke’s British wife; a “brood mare” and vital source of income to his Rajah title, courtesy of her wealthy family; she also bore him sons. Reminiscences are shared through bittersweet swatches of memory—rife with the excitement and adventure of new worlds, experiences and people; and seasoned with grief, loss, and an unbreakable sense of family loyalty and protection.

Compelling and sharp-witted performances from De Leon and Worthy, who both portray various other characters native to the respective landscapes of these individuals. In a performance that conveys both profound dignity and a heartbreaking sense of pain, De Leon’s Esca is a proud, well-educated man without a country; not looking for fame, fortune or position from official public recognition from the Brooke family, he seeks only to ease the hurt of prejudice and racism experienced by his children—in particular, his daughter Grace. Worthy’s sharply drawn portrayal of Ranee is both playfully bold and mercilessly cunning; ranging from Ranee’s precocious youth as a forward-thinking young woman out for adventure in an exotic new world, to the imperious dowager keeping a close watch and tight rein on her family, with special attention on the political climate at large. Eschewing British culture and social expectations, and relishing her new title and position, Ranee embraces the culture and language of her new home; but the discovery that her husband has a “native” wife and son is too much—and sets off a calculated series of events aimed at protecting her family and their kingdom.

And though these two characters are at odds, facing off in the final scene during their meeting, similar traits and motivations emerge: they’re both survivors of unusual and tragic circumstances, adapting to and thriving in their new homes, and fiercely determined to secure a bright and prosperous future for their children. And while British imperialism and publicly recognized noble status have the upper hand in this scenario—one gets the sense that there were no winners here.

Canadian Rajah continues at Campbell House Museum until February 17; advance tickets are available online—strongly recommended, given the intimate nature of, and limited seating in, the upstairs ballroom venue.

*After Chick Reid came down with pneumonia and was unable to continue with the production, Worthy stepped into the role of Ranee as a last-minute replacement. Reid is recovering and doing well.

 

Hearts & minds poisoned to a tragic conclusion in Shakespeare BASH’d powerful, intimate, thought-provoking Othello

Front: E.B. Smith & Catherine Rainville. Back: James Graham. Photo by Jonas Widdifield.

 

Toronto favourite Shakespeare BASH’d continues its 2018-19 season with a deep-dive into one of the most complex, messily human plays in the Shakespeare canon: Othello. Directed by James Wallis, assisted by Olivia Croft, and featuring a stellar cast, Othello opened last night for a short run this week at The Monarch Tavern. Before our eyes, hearts and minds are poisoned—and deeply human flaws exposed—along the way to a tragic finale in this intimate, powerful production.

Right off the top, Iago (James Graham) plants seeds of doubt and unrest, playing on sentiments of racism, prejudice and misogyny as, from the shadows and with the aid of the jealous, entitled Roderigo (Jeff Dingle, bringing comic relief in a goofy turn as the foolish would-be suiter), drops the bomb on Venetian senator Brabantio (played with candid self-righteous anger tinged with heart-wrenching resignation by David Mackett) that Othello (E.B. Smith), a general with the Venetian army, and his daughter Desdemona (Catherine Rainville) have had carnal knowledge of each other. Iago won’t stand for Othello’s glorified station as a respected, successful general and especially objects to Cassio’s (Dylan Evans) recent promotion over him; and Roderigo wants Desdemona for himself. Seething with resentment and jealousy over men who have that which they do not, both have their minds set on vengeance and scheme to claim that which they feel belongs to them.

Smugly, even gleefully, relating his plans throughout, the cunning Iago speaks directly to us as he maps out how, step by step, he intends to turn Othello against Cassio and Desdemona, all the while using the foolish Roderigo as his own personal bank account and sidekick, and his trusting wife Emilia (Jennifer Dzialoszynski), who serves Desdemona, as an unwitting accomplice. And all while pretending to be everyone’s friend and confidante.

Poisoning hearts and minds by playing on people’s deepest fears, prejudices and weaknesses, as well as their egos—all the while dropping pearls of apt wisdom on his respective targets—Iago manipulates and orchestrates a falling out between Othello and his friend/second in command Cassio, and gradually makes Othello distrust Desdemona’s fidelity, which he inflames by encouraging Cassio to turn to Desdemona to speak on his behalf to Othello. And that damned handkerchief—a treasured gift from Othello to Desdemona, left behind by her and found by Emilia, who gives it to Iago to please him—becomes the last straw when it is found in Cassio’s chambers. Tormented by rage and despair over his belief that Desdemona has been untrue with his best friend Cassio, that seemingly small thing pushes Othello past the edge of reason, with dire and tragic results.

A powerful, compelling performance from Smith as the tragic hero Othello; a soldier’s soldier, forced by systemic racism and oppression to constantly prove himself as a man and as a general, Othello’s great love for Desdemona becomes his downfall as Iago’s machinations work on his jealousy and sense of honour; and even more importantly, his doubts of deserving her as his partner and equal. Rainville exudes a quiet, but luminous, presence as the loyal, tender Desdemona; eschewing social mores and risking the condemnation of her family and friends, Desdemona courageously and authentically follows her heart to be with Othello. Drawn together in a relationship of mutual ‘otherness’—Othello navigating racism and Desdemona dealing with misogyny—he loves her gentle generosity of spirit and she his bravery and perseverance.

Graham is entitled sociopathic perfection as the cunning, vengeful Iago; kind to be cruel as weaves his web of fake news, mistrust and hatred among good, trusting people, Iago is the diabolical puppet master of the tragic tale. Dzialoszynski is both delightful and heartbreaking as Iago’s sassy, witty and neglected wife Emilia; longing to please her husband and, without malice, she becomes an unknowing accomplice in the tragic events that unfold between Othello and Desdemona. And Evans is adorably boyish and cocky as the eager, ambitious young Cassio; flawed and foolish in his own way, Cassio’s reputation and bromance with Othello are tarnished when he fails to govern his wayward behaviour—and his careless treatment of lover Bianca (a playful turn from Natasha Ramondino) signals a man boy with some growing up to do.

Great work all around from this outstanding cast, which also features Melanie Leon (as the stalwart Montana, Othello’s predecessor in Cyprus), Wilex Ly (the fastidious Lodovico) and Julia Nish-Lapidus (the politically apt Duchess and the hilarious drunken party girl Clown).

Just like The Merchant of Venice continues to spark debate over being an anti-Semitic play or a play about anti-Semitism, so too does Othello have at its core the debate of racist play vs. a play about racism. No matter which side of the debate you’re on, there’s no doubt that these plays both reveal, in a very raw and human way, the ways in which the elite dominant culture—in this case, white Christian males—wields its own sense of entitlement and keeps a tight grip on power as it keeps the ‘other’ in their place through systemic oppression based on religion, race and gender. (Sound familiar?) And the sad truth that even good men can be pushed too far, with serious and tragic consequences.

Othello continues at the Monarch Tavern until February 10; it’s a super short run and an intimate venue—and they’re already sold out—but if you get there early and get on the wait list, you may just luck out and find yourself a seat.

Check out this great interview on the debate on Othello being a racist play or a play about racism with actors Smith and Rainville by Arpita Ghosal on Sesaya.

The oil industry on trial for crimes against humanity in the gripping, intimate Athabasca

David S. Craig & Richard Greenblatt. Set & costume design by Anahita Dehbonehie. Lighting design by Jennifer Lennon. Photo by Samantha Gaetz.

 

Convergence Theatre presents the world premiere of Athabasca, created and performed by David S. Craig and Richard Greenblatt, and directed by Aaron Willis, assisted by Keshia Palm (who also appears as Huan, the Executive Assistant). A gripping two-hander, the audience gets an intimate, fly-on-the-wall perspective as a journalist and an oil industry executive go head-to-head over the environmental and human tolls of fossil fuel production and use. Part of the Toronto Fringe’s Next Stage Theatre Festival, it’s running at 77 Mowat Avenue, Toronto (a Toronto Carpet Factory space), the first site-specific production in the history of the fest.

Oil industry senior executive and gifted lobbyist/spin doctor Tom (David S. Craig) is being golden parachuted out of his position at Sol Oil, a Fort McMurray-based company that’s been touting the benefits its “green” oil production. It’s his last day at the office, and as he pushes back against the ridiculously prohibitive terms of his exit/non-disclosure agreement, he’s visited by Max (Richard Greenblatt), a journalist from The Outdoorsman, who’s there to do a profile piece interview.

Max’s line of questioning, prescribed by Tom’s successor, goes off script and the true nature of his visit is revealed. Max is an environmental activist, driven to extreme measures; and he proceeds to put Tom on trial as a proxy for the oil industry and its crimes against humanity and the environment. The heated debate that follows forces personal and professional revelations and confessions from both men. Will Tom be able to finesse his way out of this and talk Max out of his end game? Will Max realize that targeting one executive and one oil company won’t stop the oil industry’s work—or the public’s appetite for fossil fuels?

Outstanding work from Craig and Greenblatt in this intense, insightful, darkly funny and poignant two-hander—keeping us at the edge of our seats, guessing what these two characters will do next. Craig’s performance as Tom is the picture-perfect embodiment of the slick, smooth talking senior public affairs executive. Flippant, entitled and self-interested, and eloquent in his bullshittery, Tom is forced to really pay attention to the environmental and health impacts of the oil industry—and, more critically, answer for his and the industry’s actions. Greenblatt does a remarkable balancing act with Max, rounding out the desperate nature of Max’s mission with thoughtful, intelligent argument. Armed with an arsenal of facts, figures and pointed questions to put Tom on the hot seat, Max isn’t a bad guy; he’s mad as hell and doesn’t want to take it anymore.

Both Tom and Max present good, solid—although conflicting—points of view. It’s a complex issue with no easy answers. The only thing for certain is that the fragile balance between the economic and environmental impacts of the fuels we produce and use is on all of us.

Athabasca continues at 77 Mowat Avenue until January 20 every night at 7:30 pm except for no show tonight (January 15); good signage and production folks will guide your way. At this point, the run is sold out—so if you don’t already have tix and want to take a chance at the door, best to get there early.

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.