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.

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SummerWorks: Three strangers reach out for connection in a city on fire in quirky, dark, thoughtful The Tall Building

TheTallBuilding-400x267A city on fire. Coyotes, and other wild and domestic animals wander the streets as people flee the flames and smoke to seek refuge in a safe place, on higher ground. The city has run out of firefighters. The mayor is nowhere to be found and rumour has it that she’s abandoned the city, hiding out in an underground bunker – or dead.

This is the world of It Could Still Happen’s production of The Tall Building, written/directed by Jill Connell – running at the Theatre Passe Muraille (TPM) Backspace for SummerWorks.

It is in this world that three unlikely relationships emerge: Sulla (Molly Flood), a young woman with a man’s name who always wears the same pair of jeans and is good at picking off coyotes with a rifle; the Assassin (Clinton Carew) who lives above her, from the Brotherhood of Assassins, believed to be the cause of all the fires; and the Boy (Philip Nozuka) who lives alone across the hall and writes a self-published community paper called City Streets, which he sets out on the newspaper rack at the local 7-Eleven (where he gets all his groceries). The Boy wants to interview Sulla for the paper because he finds her interesting. The Assassin wants to kill her. Sulla just wants to get out, go outside – go shopping maybe – but she can’t bring herself to leave or move to another apartment. And she doesn’t want people to know who she is. Throughout the course of the action, they get updates on the state of emergency from the radio via updates from Radio 1 (Ishan Davé) and Radio 2 (Brett Donahue).

Excellent work from the cast on this dystopic, near future tale of urban destruction and personal connections. Flood brings some lovely layers to Sulla, a haunted, guarded and cynical young woman, strong and fearless, yet so vulnerable and sad. Carew is comically ominous as the Assassin, a hooded, solitary professional who narrates his life aloud and reveals his role to the others. Is he just bored or is he showing off or overstating his abilities? Nozuka is delightful as the home-schooled Boy, bright and imaginative, precocious and brimming with a can-do positive attitude; he’s making the best of the situation, but he too knows that they can’t keep going the way they are – and he wants to be ready. All three are lost, abandoned and desperately longing for human contact – touch. Even the two radio guys (Davé and Donahue) have a deep, poignant connection, as one is out in the field reporting back to the station, while the other keeps listeners abreast of what’s going on. Everyone’s waiting out the fire, hoping for a change in the weather, something. Something to make things better so they can pick up the pieces and rebuild from the ashes. One thing for sure is nothing will ever be the same.

With big shouts to set/lighting designer Joe Pagnan for the multi-level scaffolding structure, which allows for a multi-layered playing space that features some acrobatic, jungle gym-like staging. The red on air light and fog set us firmly in the emergent, smoky environment of this world. And shouts to It Could Still Happen for a really cool, cleverly designed program – it’s a copy of City Streets, with three pieces, each written from the point of view of the three main characters, with production credits on the back page.

Three strangers reach out for connection in a high-rise above a city on fire in the quirky, dark and thoughtful The Tall Building.

The Tall Building has two more performances at the TPM Backspace: tonight (Sat, Aug 15) at 7:30 p.m. and tomorrow (Sun, Aug 16) at 3:00 p.m.