Samantha Brown, PJ Prudat & James Dallas Smith. Costumes by Jeff Chief. Lighting design by Michelle Ramsay. Photo by Kaytee Dalton.
The catchy, familiar pre-show music (assembled by composer/sound designer Deanna H. Choi) swings with the sounds of 1940s wartime favourites—cheerful, upbeat and brimming with optimism for the future. The music stands in stark contrast to the grim, derelict scene on stage: a girl lying still on the sand centre stage, flanked by a neglected looking house on one side and a beat-up life guard tower on the other.
This is where Bea (PJ Prudat) finds herself when she arrives at the Kettle and Stony Point Reserve. Startled and gravely concerned to find a child playing on the beach, she shouts out the danger to the girl (Samantha Brown). An Afghanistan war veteran, Bea has taken a year-long contract with Canada’s Department of Defence, joining the clean-up team at the former Camp Ipperwash. The place is a dangerous mess, the appropriated land riddled with shells, landmines and various other ordinance left behind by the army—and the environment poisoned by lead and waste dumped into the lakes.
The mysterious girl disappears and Bea meets another resident: the gruff, self-appointed reserve security guard Slip (James Dallas Smith), who softens when he learns that she’s native (Bea is Anishinaabe), and begrudgingly shows her the way to his Uncle Tim’s place, which Bea is renting during her stay. Now a resident at a seniors’ home, Tim (Jonathan Fisher) has kept his family home and rents it out; but, for some reason, he won’t join Bea inside for tea.
Taking this job because she wants to give back, Bea is confident that she can do some good, and soon finds herself climbing mountains of paperwork as she struggles with her own personal demons. And that mysterious girl keeps appearing—and there’s something strange about her. Beyond the environmental damage of Ipperwash, Bea learns of the devastating personal toll—of lives uprooted and lost. Tim is a WWII veteran, who left his mother and younger sister to serve his country. Upon his return, he found his home was gone, the house moved to a location convenient for the army; and his mother and sister dead, buried on the land where their home originally stood. Even though he’s a veteran, the camp is off limits and he can’t even visit their graves. Revelations and relationships emerge; and Bea ends up helping—and being helped—in ways even she couldn’t have foreseen.
Lovely work from the cast in this personal story of a national shame told with candor, humour and heart. Brown brings an ethereal, luminous quality to the strange wise child Kwe; and Prudat mines Bea’s exterior toughness and determination with a haunted, hunted vulnerability. Smith is entertainingly cynical and irreverent as Slip; and there’s a deeply protective quality and wealth of knowledge beneath that suspicious, detached front Slip puts on. And Fisher is heartbreaking as Tim, a man who gave to his country only to have everything he loved taken away—the very army he served with barring him from his homeland. Haunted and struggling with a displaced homecoming, Tim avoids the house he grew up in—the memories too fresh and raw.
Promises, empty houses and trying to make it right in the haunting, heartbreaking, thought-provoking Ipperwash.
Ipperwash runs until February 18. Get advance tickets online; it’s the final week of the run, so catch it before it closes.