Poetry 500 years in the making in Soulpepper’s exquisite, haunting, wondrous Orlando

Set & lighting design by Lorenzo Savoini. Costume design by Gillian Gallow. Photo by Aleksander Antonijevic.

 

Soulpepper Theatre brings Virginia Woolf’s Orlando to the stage with an exquisite Canadian premiere of Sarah Ruhl’s stage adaptation of the magical time-travelling, gender-fluid tale, directed by Katrina Darychuck.

Starting off in Elizabethan England, we find Orlando (Sarah Afful) as a young man; a darling of the court and a favourite of Queen Elizabeth I (John Jarvis), he loves to be in love and longs to be a poet. Finding solace and solitude under his favourite oak tree, he begins crafting a poem. Smitten by beautiful and mysterious visiting Russian princess Sasha (Maev Beaty), he is rapturously happy for a time, but his tendency towards melancholy grows when she abandons him to return to her home. When he finds himself unable to avoid the unwanted advances of the Archduchess Harriet (Alex McCooeye), he seeks a way to leave the country—and gets his wish when King Charles II sends him to Constantinople as an ambassador.

It is there that Orlando undergoes an amazing transformation, emerging from a long sleep as a woman; she also finds herself longing to return home. Upon arriving at her family estate in England, she is greeted with the surprising news that she was assumed dead; and, as a woman, is not permitted to own property. The Archduchess comes back into her life—though she has transformed into a man. Shifting into the 19th century, Orlando meets and falls in love with Marmaduke (Craig Lauzon), a gender-shifting person like herself. Returning throughout to finish the poem she started as a young man, Orlando eventually finds herself in the 20th century, with Sasha still on her mind and in her heart—and returning to her poem. And, after 500 years, she may very well be seeing its completion.

Like Orlando’s view of the world, the tone too shifts from playful and fun to furtive and melancholy as the story plays out on Lorenzo Savoini’s icy clean, bright, minimalist set; Gillian Gallow’s stunning period costumes and Thomas Ryder Payne’s haunting soundtrack complete the storytelling. Stellar work from the ensemble in this complex, multi-dimensional, multi-layered tale of love, beauty, poetry, transformation and time travel. Much of the storytelling is directed outward to the audience, with the narration being delivered by the three chorus members, as well as characters, as scenes play out.

Afful switches masterfully between Orlando’s playfully comic and darkly introspective moments, having us laughing one minute, and then breaking our hearts the next. Beaty is majestic and mysterious as the striking, spirited Sasha; a vivacious and wandering soul, the practical Sasha appears to be more anchored in the present than the romantic Orlando, whose mind lives more in the past and the future. Orlando wishes to possess her, and she will not be possessed. And the three actors (Jarvis, Lauzon and McCooeye) who comprise the chorus deftly, and delightfully, play a variety of male and female characters; further underlining the overlap and of “male” and “female” characteristics within each of us.

An embodiment of the spirit of the age, Orlando lives across time periods where “gender fluid” and “non-binary” weren’t even terms yet. And we recognize—as these characters so aptly illustrate—that, while gender-prescribed roles and gender presentation are socially-imposed constructs, we humans have been playing with the notion of gender for centuries.

Orlando continues in the Michael Young Theatre at the Young Centre till July 29. Get advance tickets online or give the box office a shout at: 416-866-8666 or 1-888-898-1188.

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Love letter to the universe – The De Chardin Project @ Theatre Passe Muraille

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Cyrus Lane & Maev Beaty – photo by Michael Cooper

“It’s a love story about the origins of the universe.”The De Chardin Project playwright Adam Seybold

When you enter the mainspace of Theatre Passe Muraille (TPM) to see Adam Seybold’s Dora Mavor Moore-winning play The De Chardin Project, the space has been re-imagined, with the audience positioned around three sides of a central raised rectangular playing space, framed – like a box without sides. The colours red and black predominate; a single bare light bulb hangs in the centre and several focused beams of light shine onto the floor from above. Centre stage, a man in a black suit lies on his stomach. Still. An otherworldly soundtrack plays, like wind chimes – industrial and celestial at the same time. And something else. Wind? Water? Both. The music crescendos into a thunderstorm. The man stirs. And rises, wondering where he is, the soundscape evoking the haze of emerging consciousness.

Directed by Alan Dilworth, The De Chardin Project mines the life and experiences of Teilhard de Chardin (1881-1955), geologist, paleontologist and Jesuit priest, a man devoted to the study of rocks and bones in a passionate effort to understand the origins of the universe. A man of God and a man of science, his refusal to renounce evolution theory – and reconcile it with creationism – gained negative attention from Rome and forced his order to exile him to China, where he participated in the discovery of the Peking Man. Seybold’s script excavates the personal for the universal – and no matter where you stand on the origins of the universe, the result is a fascinating and emotional experience.

De Chardin (Cyrus Lane) is dying from a cerebral hemorrhage, a broken tea cup on the floor the only artifact of his life in the space he now occupies. He is like Schrodinger’s cat in the box – both alive and dead. From a trap door in the floor, a woman appears. She is his Guide (Maev Beaty), who sets out to usher him through seminal moments of his life in order to piece it back together.

Lane is luminous as de Chardin, scholarly and confident but not arrogant, quick-witted and driven. We see a man full of love – for God, the universe. Everything. Lonely in the space between creationism and evolution theory, and sad that he cannot touch that which he seeks – yet optimistic in the face of rejection and misunderstanding, even as he struggles to be so. Beaty is lovely as the Guide, cryptic but warm and open. Also tasked with playing various characters from de Chardin’s life, she gives a remarkable performance throughout, portraying people of various ages, genders and nationalities. As de Chardin’s friend and colleague Lucille, an American artist, she is beautifully sharp and irreverently funny. Like de Chardin, she is full of longing, but more grounded in the physical present than reaching through time and space for that which she cannot grasp.

The four elements figure prominently in this production – especially fire. Fire as an object of fear, transformation, destruction, illumination, desire and symbol. The spark of creation. The elements are incorporated into the remarkable set design, with various trap doors housing props, furniture and even spaces: an excavation site, a pitcher of water, a candle. Shouts to Lorenzo Savoini (production design) and Thomas Ryder Payne (sound design).

The De Chardin Project is a profoundly moving and human exploration of faith and science, love and the search for meaning in the universe.

Speaking as a recovering Catholic, I was left both moved and intrigued, my eyes wet and mind full. But that’s just me – you’ll have to go see for yourself. Let me know what you think. In the meantime, take a look at some behind the scenes moments here:

The De Chardin Project continues its run at the TPM mainspace until December 14. Go see this.

The Penelopiad is back!

Nightwood Theatre’s much lauded production of Margaret Atwood’s The Penelopiad, directed by Kelly Thornton, is back for a remount starting tonight (Jan 8) and runs until February 10 at Buddies in Bad Times Theatre. The remarkable all-female cast includes Megan Follows, Maev Beaty, Neema Bickersteth, Fiona Byrne, Sarah Dodd, Monica Dottor, Audrey Dwyer, Nicole Joy-Fraser, Kelli Fox, Cara Gee, Patricia Hamilton, Pamela Sinha and Sophia Walker.

If you didn’t catch the run last year, get out and see this – or come out and see it again.

Here’s the trailer for the 2013 production:

Xtra! Happy Woman Interview

Great interview with Rose and Maev, along with some moments from the play. WARNING: Adult content.

NightwoodTheatre

Check out the Xtra! interview with Maev Beaty and playwright Rose Cullis as they chat about The Happy Woman. What an interview: I now know the Polynesian origin of the word taboo.

The Happy Woman runs until March 24th. Get your tickets!

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