Neighbour vs. neighbour in the timely, poignant The Land Grabber

The Toronto Irish Players present the North American premiere of James Phelan and Edward F. Barrett’s The Land Grabber, directed by Kristin Chan and opening last night on the Alumnae Theatre mainstage. A farm in 1881 County Kerry becomes a microcosm of the social and political unrest in Ireland as The Land War between tenant farmers protesting landlords’ arbitrary rent increases and evictions erupts. Living in the shadow of The Great Famine and the more recent Little Famine, neighbour is pitted against neighbour when one farmer, bent on expanding local food production, purchases an evicted neighbour’s farm; all legal, but morally abhorrent—and resulting in far-reaching and tragic consequences.

The Land Grabber is a revised version of Barrett’s (Phelan’s maternal grandfather) The Grabber, which was produced at the Abbey Theatre in Dublin in November 1918, following revisions suggested by W.B. Yeats. A teenaged Phelan found a hand-written draft of the play and, years later, set about reviving the play in 2013 with the assistance of dramaturge/co-producer Maureen Lukie.

Successful farmer Johnny Foley (Thomas O’Neill) has his eye on an adjacent property and aims to marry off his daughter Mary (Meghan de Chastelain) in order to secure it. Mary has other plans and refuses, supported by her mother Ellen (Kelly-Marie Murtha). A visit from Pat Walsh (Ted Powers), a struggling neighbour at risk of eviction—and an old flame of Ellen’s—prompts assistance from Johnny’s son Billy (Blake Canning), who sets aside his own farm chores to till Pat’s land while Pat heads to the local fair to sell livestock in an 11th hour attempt to save his farm.

Despite his best efforts and successful sale, Pat is too late—and even his wealthy widow sister Kitty (Donna O’Regan) is unable to help—and the Bailiff (Dermot Walsh) arrives to execute the eviction. When Pat refuses to leave his home and the battering ram begins its heart-stopping assault on his front door,* his neighbours come out to protest—all except Johnny—and Pat and his medical student son Bryan (Paul Micucci) are injured as their home comes crashing down around their ears. Unbeknownst to even his own family, Johnny has already made a deal to pay off what Pat owes in rent and take over the Walsh farm. Refusing to listen to the protests of his family or consider alternative political solutions from Pat, who belongs to the Irish National Land League, Johnny goes ahead with his plan to grab Pat’s land.

The Foley family is subsequently shunned and oppressed by their neighbours; and Johnny is oblivious to the pain and suffering his actions have brought on his wife and children. Mary, who had left home to take a governess position, returns to be with her family and has her own decision to make; despondent and at her wit’s end, Ellen becomes a virtual recluse, choosing to worship at home to avoid the stone throwing and spitting; and the spirited, fair-minded Billy stands up for what he feels is right, refusing to side with his father. Meanwhile, Pat has gone into politics to further the cause and is doing well. Unable to sell locally, Johnny is force to travel to other towns. Tragedy ensues, and events threaten Mary and Bryan’s plans to marry when local police (Emmet Leahy and Benjamin Phelan) consider Bryan a suspect in a recent attack on the family. Eventually, Johnny is compelled to reconsider his acquisition of the Walsh farm—but all too late.

O’Neill is a compelling presence as Johnny; arrogant, stubborn and heavy-handed, there’s a world of pain and shame beneath that harsh exterior. Deeply scarred by the Famine and obsessed with making sure no one starves to death again, Johnny is deaf to alternate solutions and blind to the suffering of his own family—who, ironically, he’s most concerned about protecting. Murtha gives a gentle and heartbreaking performance as the loyal, religiously devout Ellen; but even Ellen can only take so much as their world is destroyed by her husband’s short-sighted, selfish decisions. Powers is playfully charming and politically astute as the determined, forward-thinking Pat; committed to a political solution to his fellow tenants’ predicament, he turns lemons to lemonade as he translates his knowledge and experience of farming issues to the political sphere. O’Regan is a feisty treat as the lusty widow Kitty; with a head for business and an appreciation strapping young men, Kitty injects both keen pragmatism and irreverent humour to the proceedings.

It’s a timely production for GTA audiences, given the current climate of high rents, rescinded rent controls and low vacancy rates, combined with frozen wages and a job market that increasingly favours precarious part-time/contract work over more secure permanent full-time positions. Landlords execute suspect renovictions, claiming they or family members are moving in, or turf long-term tenants in favour of opening Airbnb spaces; and tenants fight back with protests, rent strikes and deputations to local government. Desperate times can push people to desperate, sometimes selfish, measures—and also to new, innovative solutions—and hard times bring out the best and the worst in us.

With shouts to the fine design team for their work on this historical drama: Sean Treacy, co-producer Geraldine Browne and Anne Lyons (set); Karlos Griffith (lighting); Dan Schaumann (sound); and Bernadette Hunt (costumes).

The Land Grabber continues on the Alumnae Theatre mainstage until March 2; advance tickets available online.

*The production poster at the top of this post features an archival photo of this kind of  eviction action.

Toronto Fringe: Art, friendship & astroturf in the quirky, edgy, hilarious The Grass is Greenest at the Houston Astrodome

Adrian Rebucas, Lauren MacKinlay, Anne van Leeuwen, Richard Young & Carson Pinch. Photo by Megan Terris.

 

High Park Productions takes us to The Freedom Factory gallery (22 Dovercourt Road, south of Queen St. East) for a fly-on-the-wall view of the aftermath of an explosive art show opening. The Toronto Fringe production of Michael Ross Albert’s The Grass is Greenest at the Houston Astrodome, directed by Robert Motum, is a quirky, edgy, hilarious look at the indie art world and a group of artist friends as they struggle with finding fulfillment in the personal lives and careers.

Photographer Amy (Lauren MacKinlay) manages an art gallery that’s soon shutting down, so she invites her art school friends to hang their work in one final show—one that quickly closes when radical feminist painter pal Caroline (Anne van Leeuwen) goes all rock star in a hotel room on the place. Cleaning up the debris of art work, wine glasses and broken dreams, Amy is assisted by gallery intern/sculptor Pablo (Carson Pinch) and conceptual artist friend Marshall (Adrian Rebucas) while Caroline fumes and smokes outside before rejoining her friends to explain herself and face the music. And just when you thought things couldn’t get more complicated, Caroline’s fiancé John (Richard Young) arrives and the gang discovers that he already knows Marshall.

Remarkable work from the ensemble, who keeps it real and present amidst all the insanity, razor sharp hilarity and satire. Heartfelt, insightful discussions about the art world, the nature of art and creativity, and the artist’s place within it all—and the existential crisis every artist must confront regarding their work, the precarity of their financial status, and their struggle for personal meaning and fulfillment.

The production features dramatic, evocative works by local female artists Shannon Gernon, Christine Miller, Krista Sobocan and Zabrina Szymanski.

The Grass is Greenest at the Houston Astrodome continues every night at 8 p.m. at The Freedom Factory until July 15. It’s sold out for the remainder of the run, but you can always drop by and take your chances on scooping up a spot from a no-show.

Want to check if the show you want to see is sold out? The Toronto Fringe folks have set up a page for sold-out shows, updated daily.