Shaken faith & lost innocence in Soulpepper’s haunting yet hopeful Innocence Lost: A Play about Steven Truscott

Berkley Silverman & Dan Mousseau. Set design by Camellia Koo. Costume design by Sue LePage. Lighting design by Bonnie Beecher. Photo by Cylla von Tiedemann.

 

A town divided in the aftershock of the tragic rape and murder of a 12-year-old girl; and subsequent adult trial and conviction of a 14-year-old classmate. A journalist doggedly pursuing the truth, casting doubt on the efficacy of law enforcement in the case and belief in the fairness of the local justice system. Soulpepper’s production of Beverley Cooper’s Innocence Lost: A Play about Steven Truscott, directed by Jackie Maxwell, examines the impact of this tragic case on those close to these two young people, the town and the public at large. The show opened last night to a packed house at the Young Centre.

The perception of a quiet, safe life in Clinton, Ontario was shattered when 12-year-old Lynne Harper went missing on June 9, 1959; her lifeless body found two days later in the woods just outside of town. In a stunning aftershock, her 14-year-old classmate Steven Truscott was tried as an adult, convicted and sentenced to death for her rape and murder—dividing the town’s residents; and casting extreme doubt on Truscott’s character, as well as the law enforcement and local court handling the case.

Our narrator to the events leading up to and following this tragic event is Sarah (Courtney Ch’ng Lancaster), the only fictitious character in the play. It is through her lens as classmate of the well-liked, athletic Steven Truscott (Dan Mousseau) that we get a glimpse into this time and place. Speaking to us as an adult, she turns over memories, and conflicting thoughts and emotions in her mind, as she guides us through the barrage of information, misinformation and gossip about the unthinkable death of Lynne Harper (the young Berkley Silverman), and the shock of Steven’s subsequent trial and conviction.

Lead investigator, OPP inspector Harold Graham (John Jarvis), chooses to focus on the changeable testimony of two minors: Butch George (Caroline Gillis) and Jocelyne Gaudet (Akosua Amo-Adem), whose testimony conflicts with other children the police interviewed, like Dougie Oates (Christef Desir), who saw Steven giving Lynne a ride on his bike. Compounding the misinformation of this selective culling of largely child witness testimony are the findings of pathologist Dr. John Penistan (Deborah Drakeford), who examined Harper’s stomach contents to determine time of death. And, for some reason, the trial is held locally, offering little in the way of an unbiased jury, for which only men have been selected. Assumptions and prejudice abound. The authority of police, doctors and judges is not questioned. And there are two distinct class divides in the town: long-time residents vs. local air force base personnel and officers vs. non-coms. And a further divide develops: those who believe in Truscott’s innocence and those who believe him guilty. Interestingly, Lynne’s father (Jarvis) was an officer and Steven’s father Dan (John Cleland) was a non-com.

Journalist/writer Isabel LeBourdais (Nancy Palk) appears on the scene, ruffling skeptics’ feathers and providing hope for supporters with interviews about Truscott’s case. Her investigation and subsequent 1966 book The Trial of Steven Truscott shines a spotlight on holes in the investigation, calling into question the work of investigators and the fairness of the trial. Rumours of misdirection and cover-up emerge. Through the tireless efforts of supporters, particularly Truscott’s mother Doris (Gillis) and LeBourdais, Truscott’s case is revived—in public consciousness and in the legal system. Truscott’s original sentence is commuted to life in prison a year after his conviction; he is paroled in 1966 and acquitted by the Ontario Court of Appeal in 2007.

Innocence Lost, Soulpepper
Courtney Ch’ng Lancaster & Nancy Palk. Set design by Camellia Koo. Costume design by Sue LePage. Lighting design by Bonnie Beecher. Photo by Cylla von Tiedemann.

Sharply detailed, respectful work from the ensemble; the women in this story feature prominently, with some particular stand-outs in the cast. Ch’ng Lancaster does a brilliant job with the conflicted Sarah; torn between her admiration of Steven, and the myriad voices supporting and damning him, Sarah finds her own faith shaken—and like Peter, even denies knowing Steven. Longing to put some distance between herself and the town, and its accompanying nightmare of memory, she travels across the country to university, only to find people talking about the case. Drakeford does an outstanding job, juggling multiple characters with both dramatic and comedic flair: Sarah’s gossip-mongering, opinionated mother; the arrogant Dr. Penistan; and hilarious turns as a harried Brownie pack leader and a put-upon front-row student. Palk shines as the intrepid LeBourdais; affable but nobody’s fool, LeBourdais questions authority—in this case, the male power system responsible for incarcerating Truscott—pointing out inaccuracies, conflicts and omissions in testimony, and the circumstantial nature of the evidence, and putting those involved in the case on the hot seat.

Shouts to the design team for their work in conjuring this time and place. Doris Day’s Que Sera, Sera brings a dark bit of whimsy to the pre-show music (sound design by John Gzowski), adding a touch of nostalgia along with the vintage costumes (costumes by Sue LePage). The stand of tall, narrow trees that dominates the dimly lit set provides a haunting, hazy atmosphere and doubles as the bars of Truscott’s jail cell (set design by Camellia Koo and lighting design by Bonnie Beecher).

Innocence Lost is as much about Truscott’s lost childhood as it is about the shaken faith of a town and its people. All that had been trusted and taken for granted as true and good—the town’s safety, the police, the courts and Truscott’s character—dissected, questioned and turned upside down. Assumptions, prejudices, hearsay and bias create an environment of skepticism, mistrust and denial; favourite childhood places become poisoned in memory. And faith, hope and love put the story of his role on that tragic day back on track.

Innocence Lost: A Play about Steven Truscott continues in the Marilyn and Charles Baillie Theatre at the Young Centre until June 23. Get advance tickets online or give the box office a shout at: 416-866-8666 or 1-888-898-1188.

Check out Maija Kappler’s piece on Innocence Lost, including an interview with playwright Beverley Cooper, in Intermission Magazine.

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Heart vibrations as the dead weave tales reminding us to live in the inspirational, uplifting Spoon River

Spoon River ensemble—photo by Cylla von Tiedemann

 

Is your soul alive?

As we make our way into the theatre, we find ourselves entering the funeral of Bertie Hume; filing past old family portraits and rows of headstones as we make our way out of the funeral parlor and into the cemetery. We are greeted by funeral home attendants and, possibly, friends and family of the deceased.

This is our introduction to Soulpepper’s immersively staged Spoon River, based on Edgar Lee Masters’ Spoon River Anthology poetry collection, and adapted by Mike Ross and Albert Schultz for the stage, with music composed by Ross. A remount of this beloved, award-winning show is currently running in the Baillie Theatre at the Young Centre, located in Toronto’s Distillery District.

As Bertie Hume is left to her eternal rest, former citizens of the town—now “asleep” in the cemetery on the hill—emerge to share their stories with us, the passersby. Set in small-town America, the lives, loves, joys and pain of its people are revealed with memories, regrets, confession; at times harrowing (“Fire”), hilarious (“Couples” and “Drinking”) and heartbreaking (“Mothers and Sons”). The quirks, the humanity, the secrets and betrayals—all interwoven with poetry, spoken word, music and song, as we get snapshots of the people they once were.

The remarkable, multitalented ensemble plays and sings, with rousing, foot-stomping sounds and gorgeous, resonant harmonies in a collection of blue grass and gospel-inspired songs. Stand-out soloists include Alana Bridgewater, Hailey Gillis (as Bertie Hume), Miranda Mulholland, Jackie Richardson (“Widow McFarlane”) and Daniel Williston (“Fire”). Soulpepper veterans Oliver Dennis and Diego Matamoros bring stellar character work, as do Raquel Duffy, Stuart Hughes, John Jarvis and Michelle Monteith. Ultimately, Spoon River is a celebration of life (“Soul Alive”)—and a reminder that life, warts and all, is a cherished gift. I dare you to not stomp along.

With big shouts to the design team for their work on this magical, evocative production: Ken MacKenzie (set and lighting), Erika Connor (costumes) and Jason Browning (sound).

Heart vibrations as the dead weave tales reminding us to live in the inspirational, uplifting Spoon River.

Spoon River continues in the Baillie Theatre at the Young Centre until April 21; booking in advance is strongly recommended to avoid disappointment—the place was packed last night and this show is getting lots of standing ovations. Get your advance tix online or by calling the box office at 416-866-8666.

Up next: Soulpepper will be taking Spoon River to New York City’s 42nd Street in July as part of its first NYC season at The Pershing Square Signature Center.

The Spoon River soundtrack is available on CD in the lobby of the Young Centre; you can also find it on iTunes. In the meantime, check out the trailer:

 

 

Shades of red & blue in the tapestry of interwoven lives in the beautiful, theatrical Of Human Bondage

Photo by Cylla von Tiedemann: Gregory Prest & Michelle Monteith in Of Human Bondage

 

It’s all in how a man carries himself.

Soulpepper opened its remount of Vern Thiessen’s stage adaptation of W. Somerset Maugham’s Of Human Bondage at the Young Centre on Thursday. Directed by Soulpepper A.D. Albert Schultz, this is Soulpepper’s third journey with this production—and I finally got out to see it last night, with a packed house that gave it a standing ovation.

Orphaned as a child and painfully self-conscious about his club foot, Philip Carey (Gregory Prest) is a somewhat reluctant medical student; once a painter, and with fond memories of his time in Paris, he got tired of being broke and chose to pursue a more lucrative career path. And that path takes a serious detour when he accompanies friend and classmate, the nervous virgin Dunsford (Paolo Santalucia), to a local tea shop. Dunsford hopes to woo pretty waitress Mildred (Michelle Monteith), who catches the eye of Philip and she goes with him instead.

While it’s clear to us that Mildred is game for any man of good prospect, it is sadly not to Philip, who goes from smitten to obsessed with a woman who does not share his feelings. Obsession turns to possession, turns to rage when Philip learns that she’s become engaged to Miller (Brendan Wall), another tea shop regular. Meanwhile, he’s been flunking his classes and in serious danger of washing out of med school, much to the dismay of his crusty but supportive professor Dr. Tyrell (Oliver Dennis).

With the help of artist pals, painter Lawson (Dennis) and poet Cronshaw (Stuart Hughes), Philip meets the lovely writer Norah (Sarah Wilson), who falls for him—but he not with her. He’s doing better at school, though, and befriends a patient, Thorpe Athelney (John Jarvis), who opens his home to Philip. Philip’s direction changes again upon the return of Mildred, pregnant and jilted. Leaving Norah behind to look after Mildred and her baby, he finds himself at risk of losing his place at med school due to outstanding tuition owing. Desperate to make some extra cash, he invests in the stock market, only to lose it all; then loses Mildred, again, to another classmate, the randy Griffiths (Jeff Lillico).

Hitting rock bottom, evicted from his apartment and kicked out of med school, Philip reconnects with Athelney and his family, including his sweet daughter Sally (Courtney Ch’ng Lancaster). And throughout the love and loss, shifting careers—including fashion designer for New York darling of the stage Alice (Raquel Duffy)—and friends and lovers whose lives are connected with his own, he gradually comes to know himself. And finds his life.

Masterfully staged on a red square playing area, set pieces are wheeled in and out, props inventively choreographed, and sharp dramatic lighting highlights the environmental and emotional tone (Lorenzo Savoini, set and lighting design). The whole ensemble (also including Richard Lam) gets involved, portraying figures in paintings, and creating the haunting soundtrack, rollicking music hall ditties and evocative sounds of daily life (Mike Ross, composer and sound design)—all live, onstage in the wings, which are visible to the audience. And, like the Persian rug Cronshaw gives Philip, scenes and characters’ lives weave in and out of each other with beautiful, artistic precision.

Lovely, nuanced performances from the cast. Prest is both heartbreaking and heroic as the quiet, introspective Philip; childish at first in love—loving where he is not loved, and loved where he does not love back—he only comes to find real love and true meaning in life when he finds love for himself. Monteith is captivating and wily as Mildred; forced into opportunism by circumstance, as Philip is a slave to his passions, Mildred is a slave to survival. You may want to dislike Mildred for her cruel, calculated use of Philip, but then you realize that all choices are not created equal in a world divided by class and gender privilege.

Dennis and Hughes make a great pair as the cheeky Lawson and bacchanalian Cronshaw, Philip’s jovial artist friends. Dennis gives Lawson a sweet, concerned nurturing quality; and Hughes brings a gentle melancholy to Cronshaw’s party animal.

Wilson shines as the sharp-witted modern woman Norah; a lovely, supportive girlfriend to Philip, you really feel for her when you see her affections aren’t returned in kind. Lancaster is both tender and irreverent as the quiet socialist Sally; you find yourself hoping—maybe she’s the one.

Shades of red and blue in the tapestry of interwoven lives in the beautiful, theatrical Of Human Bondage.

Of Human Bondage continues in the Baillie Theatre at the Young Centre in Toronto’s Distillery District; book in advance online. Get yourself out to see it before the production heads to NYC, to The Pershing Square Signature Center in July for Soulpepper’s first New York season, along with Kim’s Convenience and Spoon River.

Check out the trailer for Of Human Bondage: