Karen Robinson, Khadijah Roberts-Abdullah, Richard Zeppieri, Jeff Lillico & Sébastien Heins. Set design by Nick Blais. Costume design by Lindsay Dagger Junkin. Lighting design by Oz Weaver. Photo by Joseph Michael Photography.
What happens when a white playwright’s play, inspired by the shooting of an unarmed young Black man by a Black female cop, becomes a huge success destined for a Hollywood movie adaptation?
Factory Theatre presents the world premiere of Kat Sandler’s BANG BANG, directed by Sandler, assisted by Kwaku Okyere, with dramaturgy by Donna-Michelle St. Bernard. Inspired by all too common headlines of innocent lives lost, the play turns a spotlight on how these stories are told and who gets to tell them.
Suspended from the force two years ago, former rookie police officer Lila (Khadijah Roberts-Abdullah) now lives with her mother Karen (Karen Robinson), a psychologist, and the memory of her deceased cop father. Lila’s story—and that of Derek Chambers, the young man she shot—is of particular interest to playwright Tim (Jeff Lillico), who wanted to write an important, socially relevant piece about excessive and deadly police force; and this case is unusual—and dramatically juicy—in that it involved a Black female police officer.
When Tim shows up unexpectedly at Karen’s door to see Lila one rainy day, the reason for his visit is even more of a surprise than his arrival. His play Hands Up was a huge success and is being turned into a Hollywood movie. And they’re about to have another surprise visitor: actor Jackie (Sébastien Heins), who’ll be playing the police officer—and whose arrival is abruptly heralded by security detail Tony (Richard Zeppieri). And just when you thought things couldn’t get any weirder, amidst a morning of day drinking (all except Karen), Lila decides that they need to do selected readings of the play, insisting that this will be helpful for her. And that’s when shit gets really real.
Outstanding work from the ensemble on this roller coaster ride of ideas, emotions and storytelling. Robinson brings both ferocity and vulnerability to Karen, a protective mother and a sharp, wry-witted professional. Willing to do whatever’s necessary to shield her daughter from harm, Karen also struggles with how Lila’s actions reflect on her. As Lila, Roberts-Abdullah rides the edge of good-humoured self-deprecation and hopeless despair. Lost and isolated, and putting on as brave a face as she can, Lila is haunted by the shooting, nursing her pain with outbursts of edgy humour and sliding into day drinking as she tries to make it through the day.
Lillico’s multilayered performance as Tim gives us a driven, ambitious and socially awkward young man who longs to make a name for himself as much as he wants to make a social statement. Although he has no ties to the community or profession that are key components of the story, Tim feels entitled to tell it—and feels justified in researching the finer details through Google and interviews. Caught up in his own growing celebrity, does he even know who or what he’s writing this for anymore?
Heins is an energetic ball of fire as Jackie—and does an excellent job with the public and private faces of celebrity. An extroverted master of put-on sincerity, and referring to himself in the third person on the one hand, Jackie also gives a genuinely passionate account of a play he saw that also tells the story of a police shooting of an innocent Black youth. Driven and ambitious like Tim, Jackie is also biracial and more socially astute than his former Disney child star turned wannabe serious actor persona might indicate. Zeppieri is an irreverent, foul-mouthed delight as Tony; a former cop himself and a bull in a china shop socially speaking, Tony has some surprisingly gentle qualities beneath that gruff, macho exterior. And he gives a hilarious read of the Hands Up stage directions.
Who gets to tell these stories—and how and when? And what kind of impact will the telling have on the immediate audience and the public at large? Rarely do you get to see a play that makes you think, laugh, puts you on the edge of your seat and moves you to tears like BANG BANG.
The design team has created a marvelous, theatrical environment for this play within a play journey: from the visible props tables in the unmasked wings that flank the gorgeous living room set (set by Nick Blais) and lighting scaffolding (lighting by Oz Weaver), to the snippets of epic, sweeping soundtracks that emerge throughout (sound by Verne Good).
BANG BANG continues in the Factory Theatre mainspace until February 18; advance tickets strongly recommended.