The secret thoughts of grownups &the stories they tell in the gripping, darkly funny Mockingbird Close

Tiana Leonty & David MacInnis—photo by Jackie Brown Photography

 

When truth collides with fiction, who can you trust?

INpulse Theatre Co. presents the Toronto premiere of Trevor Schmidt’s Mockingbird Close, directed by Ryan F. Hughes and running at Red Sandcastle Theatre.

Iris (Tiana Leonty) and Hank (David MacInnis) live in a nice, clean split-level home on a nice, quiet cul-de-sac in a nice, safe, crime-free neighbourhoood. Their picture-perfect 1950s suburban life is turned upside down when their young son goes missing. Only, when they try to recall the day he disappeared, they can’t seem to get the story right.

As they conduct a door-to-door search on their street—the titular Mockingbird Close—we encounter their neighbours (all played by Leonty and MacInnis); and it’s dark comic portraits all around as we meet them. The vain, judgmental, hyper-religious, cooking baking Louis Vent. Sidney Blackwell, the strangely charming older man with his prized train set in the basement and a bed-ridden wife upstairs. The attention-starved, “Mrs. Robinson” Mona Hobbs. The odd, soft-spoken Jarvis Jermaine. No one has any information on the missing boy—and all are concealing something. And then there’s the malevolent, mysterious older lady; the one the neighbourhood kids call “the witch.” There’s a dangerous, unsettling undercurrent on this street; and each of its inhabitants has a dark, hidden edge.

Incorporating storytelling with satirical fetishization of normalcy and wholesomeness, Mockingbird Close is part fairy tale, part psychological thriller—one might even say David Lynchian. What really happened? And did it even happen?

Leonty and MacInnis are a two-person master class in their performances, playing on the edge of send-up and nuance as they flesh out these secretive, discomfiting characters. Leonty’s Iris is a neat, prim and somewhat high-strung wife and mother; the perfectly coiffed wife in an emerald green cocktail dress who greets her returning husband at the door with slippers, the paper and a martini. And Leonty runs the gamut, from narcissistic and controlling Louis to desperately lonely seductress Mona. MacInnis is the picture of the flawlessly pressed professional and husband; precise and socially astute, he too is tightly wound—more of the ticking time bomb variety. He is eerily engaging as Sidney and creepily attentive as Jarvis. MacInnis and Leonty seamlessly tag team a single character as they take turns portraying the mysterious and manipulative dark lady behind the final door at the end of Iris and Hank’s search.

The secret thoughts of grownups and the stories they tell in the gripping, tension-filled, darkly funny Mockingbird Close.

Mockingbird Close continues at Red Sandcastle until September 16; get your advance tickets online or at the door an hour before show time. Advance booking recommended; it’s an intimate space and last night’s opening was a packed house.

Keep up with INpulse Theatre Co. on Facebook. You can also find them on Instagram: @inpulsetheatre and Twitter: @inpulse_theatre

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Compelling storytelling in the riveting, edgy, darkly funny Slip

Clockwise, from top: Alex Paxton-Beesley, Daniel Pagett, Mikaela Dyke & Anders Yates—photo by Alec Toller

Circlesnake Productions remounts its production of Slip, collectively written by the ensemble and directed by Alec Toller—opening in the Tarragon Theatre Workspace last night.

Walking into what appears to be a crime scene—some of us walking through it to get to the bank of seats opposite the entrance—we become immersed in Jane’s (Mikaela Dyke) apartment. Pieces torn out of books, scraps of paper, post-its litter the floor and cover the walls; and there’s a banner with a strange interlocking symbol (set by Bronwen Lily, lighting by Wesley McKenzie). Jane lies dead in the middle of the floor, red hood pulled up covering her face.

Detective Lynne (Alex Paxton-Beesley) and her partner Mark (Daniel Pagett) assess the scene as they await the arrival of medical examiner Blake (Anders Yates). Is it murder or suicide? Perfectly matched, they work at piecing together a story for this incident, playfully one-upping each other in a private, quick-paced game as each comes up with theories and trajectories.

As the detectives sift through photographs and other evidence found on the scene, we see pieces of Jane’s story played out in flashback—inspired by a photo Lynne finds on a shelf: a relationship with a young black woman, one of two people witnesses saw entering and exiting the apartment. Marina (Nicole Stamp) is Jane’s ex-girlfriend, still on friendly terms and concerned about Jane’s welfare. And we learn that the young ginger-haired man seen in the vicinity turns out to be Chris (Yates), Jane’s brother.

Meanwhile, Lynne is a subject of particular interest in a tribunal investigating an incident where she and Mark pursued a perp into a darkened alley and shots were fired. And she’s in the dog house with their boss Passader (Stamp), who expects great things from her. Brilliant and known for her remarkable instincts, Lynne has been anxious and off her game lately. And it’s not just because of the tribunal—she’s been forgetting, losing her grip on her memory and sense of time. And the investigation into Jane’s death becomes personal—maybe too personal.

Outstanding work from the cast in this tale where crime procedural meets psychological thriller meets dark comedy. Paxton-Beesley and Pagett have amazing chemistry as the two detectives; dedicated and good at their jobs, Lynne and Mark are well-matched, riffing off ideas and theories with a playful, mercurial banter and a good-natured sense of competition. Beneath the professional, hard shell exteriors are two damaged souls. Paxton-Beesley (no stranger to playing detective—Murdoch Mysteries fans will recognize her as Murdoch’s childhood friend turned private detective Winifred “Freddie” Pink) gives a compelling, heartbreaking performance of Lynne’s journey; Jane’s story hits close to home—and the dawning realization of what will it mean for a beloved career she’s dedicated her life to. And Pagett reveals the softer, conflicted side of Mark; a man struggling with alcohol and having a ‘normal’ life when he goes home from the job. Supportive and loyal to Lynne, Mark can’t help but be suspicious and concerned about her recent erratic behaviour.

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Mikaela Dyke & Nicole Stamp—photo by Alec Toller

Dyke gives a moving performance as Jane; deeply troubled, fragile and lost, Jane reaches out in an attempt to reconnect with ex Marina, but can’t bring herself to tell her what’s wrong—revealing and mysterious at the same time. Her perceptions of family are in stark contrast with that of her brother; whose version of the story is true? Stamp shows some great range as the hard-ass, domineering Passader, who has big plans for Lynne and demands she doesn’t screw it up; and the loving, kind Marina who longs to be there for Jane, but whose care and compassion can only go so far. Yates is hilarious as the wisecracking ME Blake, who doesn’t particularly enjoy his job, but game for the quick-paced, sharp-witted exchanges with Lynne and Mark. And he brings an edge of pragmatism and deep-seated pain to Jane’s brother Chris.

The immersive staging puts the audience on either side of Jane’s apartment, giving us a fly-on-the-wall’s-eye view of the proceedings. Photographs and writings become jumping off points for flashbacks, revealing new pieces of the puzzle. Memory and story weave in and out—and stories intersect and combine to a stunning and heart-wrenching revelation.

Compelling storytelling in the riveting, edgy, darkly funny Slip.

 Slip runs in the Tarragon Workspace till April 2; advance tickets available online—strongly recommended as it’s an intimate space with limited seating.

In the meantime, check out the interview with director Alec Toller on Stageworthy Podcast with host Phil Rickaby.

Toronto Fringe NSTF: Big rhapsodic fun with sketch comedy in Unbridled & Unstable

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Gwynne Phillips & Briana Templeton in Unbridled & Unstable

My second opening night show at the Next Stage Theatre Festival (NSTF) in the Factory Theatre Studio last night was The Templeton Philharmonic’s production of Gwynne Phillips’ and Briana Templeton’s sketch comedy romp Unbridled and Unstable.

From the moment they appear through the mist astride their noble steeds Dvorak and Duchovny (riding side saddle, of course), Philips and Templeton take the audience on an engaging, satirical ride of sketches: Victorian equestrian ladies, a book club discussion, a 1950s amateur foley artist radio show, a real estate agent’s absurd home showing and audience participation horse racing.

Drawing on psychological dramas and thrillers of the 50s and 60s, Phillips’ and Templeton’s voice and diction work is spot on. Most of the sketches are two-handers, but the gals break out for solo efforts: Templeton’s hilarious historic romance novelist reading, and Phillips as the drunken and inappropriately frank Aunt Gloria, staggering down memory lane as she describes the photos in a family album to the kids. Throw in some wacky fun dance breaks – with nods to disco, Michael Jackson’s Thriller video and Truly Scrumptious’s music box doll from Chitty Chitty Bang Bang – and you’ve got one ripping good time.

Added bonus: Templeton Philharmonic merch is available for purchase before the show and the program notes include saucy renderings of horses by Philips, Templeton and SM/Associate Producer Vanessa K. Purdy.

Unbridled and Unstable is a big, rhapsodic fun trip though some sharp-witted and highly entertaining sketch comedy. Somewhere, Dorothy Parker is raising a martini glass to these two wacky, smart and fun-loving gals.

Unbridled and Unstable continues in the Factory Theatre Studio until Sun, Jan 18 – with a talkback at The Hoxton following the show on Sun, Jan 11. Click here for advance tix.