A journey into the wasteland of a serial killer’s mind & the possibility of forgiveness in Seven Siblings’ chilling, heartbreaking Frozen

Scott McCulloch, Nancy McAlear & Madryn McCabe. 

 

Is it possible to forgive a man who has murdered a child? The stuff of every parent’s nightmare becomes an opportunity for reconciliation and forgiveness as a forensic psychologist offers her thesis on the minds serial killers in Seven Siblings Theatre’s compelling, moving production of Bryony Lavery’s Frozen. Directed by Will King, Frozen opened last night at the b current Studio Theatre at Artscape Wychwood Barns.

American forensic psychologist Agnetha (Madryn McCabe)—who has a fear of flying and some emotional turmoil of her own to deal with—is on her way to London, England to give a lecture on her thesis and interview a new subject: serial killer Ralph (Scott McCulloch). We also meet Nancy (Nancy McAlear), a mother whose 10-year-old daughter Rhona went missing on her way to her grandmother’s over 20 years ago.

Shifting into the past and returning to the present, we learn the details of Rhona’s disappearance. Nancy’s sullen teenage daughter Ingrid refuses to go to her grandmother’s, as it involves gardening work, so Nancy sends Rhona instead. Ralph sees an opportunity and takes it. As these flashbacks include both Nancy and Ralph’s points of view, we get devastating and alarming accounts of the events that led to the loss of this loved girl.

Agnetha, along with neuroscientist colleague David (voice-over by Jim Armstrong), has collected evidence that suggests abuse, neglect and brain trauma permanently alter the brain structures of serial killers, rendering them unable to control their actions. And, as these people—mostly men—are ill, and not evil monsters, can we not therefore forgive them?

In the early years following Rhona’s disappearance, Nancy throws herself into activism work with an organization dedicated to finding missing children and reuniting them with their families. Living in hope and denial, she believes in her heart that Rhona is still alive. Her hopes are dashed when she learns that police have taken Ralph into custody for the attempted abduction of a girl; his tattoos betray his whereabouts on the dates and locations of other missing girls. Rhona’s remains are found, along with those of other victims and his collection of child porn videos, in his shed—in Nancy’s neighbourhood, close to home. Bringing Nancy, Agnetha and Ralph together, the tragedy of Rhona’s abduction and murder becomes a catalyst for personal journey and self-discovery—with unexpected and startling results.

Cerebral, visceral and spiritual, it’s a challenging piece for the ensemble, to say the least—and this cast rises to the occasion with layered, nuanced and compelling performances. McCabe is strikingly professional, deeply vulnerable and tender as Agnetha. Struggling to keep it together as she continues the work that she and David started, Agnetha must keep her own internal conflicts under control as she interviews Ralph and assesses whether it’s wise to allow Nancy to visit him. McAlear is a heartbreaking, determined warrior mother as Nancy. The glue that keeps her family together, Nancy must not only come to terms with the fact that Rhona isn’t coming back, but accept the long-term impacts on her family as each member grows up and even apart from her. And as something shifts in her own heart and mind, what will she say when she sees Ralph? McCulloch is both chilling and gruffly charming as Ralph; a master manipulator and liar, Ralph is disturbingly nonchalant about his proclivities and hunting habits. Forced to turn inward during his meetings with Agnetha, who’s told him that he can’t help himself due to his traumatic childhood and brain injury, what will he find?

Frozen in time, with only her bones left behind, Rhona reaches out to each of these characters. Can Agnetha and Nancy move on from their devastating losses? Frozen in a mind that dictates deviant desires and behaviour, can Ralph understand the hurtful impact of, and feel remorse for, what he’s done? Can we distinguish evil from illness—and what will we do with that understanding?

Heartbreaking, chilling and peppered with dark humour—and provocative in Agnetha’s thesis of the possibility of forgiveness for a serial killer—Frozen is an emotionally and intellectually turbulent ride. Staged with minimal set pieces—cubes that are stacked and moved with precision to create the space—with live sound by director King, Seven Siblings’ Frozen is both uncomfortable and revealing in its intimacy. Try as we may, we can’t look away.

Frozen continues in the b current Studio Theatre until June 3; advance tickets available online—a good idea given the limited seating in this intimate venue.

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Touching, disturbing macabredy – Murderers Confess at Christmastime

Three beds, suggesting three separate playing areas. And Christmas music, which is kinda trippy when you’re hearing it in August. Setting the scene for Outside the March/The Serial Collective co- production of Jason Chinn’s Murderers Confess at Christmastime, directed for SumerWorks by Simon Bloom.

An injured young actress (Amy Keating), home alone, becomes an unwitting host to a handsome, but uninvited guest (Harry Judge). A closeted young mayoral candidate’s (Aaron Willis) hook-up with a twink trick (Jeff Ho) he met online becomes woven into his life and relationship with his troubled former model wife (Candace Berlinguette). The relationship between a wheel-chair bound man (Tony Nappo) and a female co-worker (Nancy McAlear) becomes the catalyst for a future encounter.

The compelling storytelling includes a stellar cast, each executing his/her multi-layered character’s evolution with skill and respect throughout the piece. Keating is energetic and adorably quirky, yet surprisingly strong, as the young actress; and Judge gives a lovely, layered performance as a man living a secret life outside that of his family. Willis does a nice job of playing the duality of his character’s life – self-assured in the political arena, while his personal life is an exciting exploration in a minefield of secrets. Ho’s twink is a hip, cocksure boy, his flip sense of humour the other side of a loyal soul filled with empathy. Berlinguette brings a lovely combination of vulnerability and savvy to the damaged trophy wife, troubled and struggling to soldier on. Nappo gives us a sweet and accommodating, yet deeply lonely and frustrated, man longing for love and affection – something of a polar opposite to McAlear’s larger than life, hard-drinking, hilariously funny, yet equally lonely, co-worker.  No one is as he or she seems at first– and in every case, circumstance becomes the catalyst for action of a “didn’t know he/she had it in them” quality.

The one thing all three scenarios have in common is each character is filled with a deep longing to connect in some way, to fill a profound sense of loneliness and isolation. It’s ironic that, in this day and age when we have all this technology to help us connect with each other – the web, cellphones, Skype all feature in this play – we seem to be a more lonely race than ever.

Murderers Confess at Christmastime is a touching, disturbing macabredy – darkly funny and tension-filled, with moments of brutality and unexpected tenderness. It continues its SummerWorks run at the Lower Ossington Theatre main space until August 17. Go see this.