The Real Housewives meets Molière in GBTS’s hilariously delightful The Learned Ladies

Ensemble. Set & costume design by Brandon Kleiman. Lighting design by Siobhan Sleath. Photo by Cylla von Tiedemann.

 

The George Brown Theatre School (GBTS) graduating class opened its 2019-20 season at the Young Centre this week with a hilariously delightful take on Molière’s The Learned Ladies, translated by Richard Wilbur, directed by Sue Miner and choreographed by Bob McCollum. It’s The Real Housewives of Paris meets Molière as the translated text combines with a contemporary backdrop in a razor-sharp send-up of attention-seeking celebrity rich people and the famous poseur artists they fawn over. Plus ça change…

We are introduced to the characters in etalk red carpet style, complete with director (a hyper-efficient, clipboard-bearing Amelia Ryan), and self-involved celebrity hosts Joshua (sunglasses-wearing cock of the walk Jack Copland) and Salique (Siobhan Johnson, with runway model fetching fierceness). The parade of artifice and authenticity gives us a glimpse at the nature of the people we’re about to meet as they walk, stroll and pose across Brandon Kleiman’s colourful pink explosion of a set (think Barbie meets Dr. Seuss).

Left behind the glamourous clamour is the bespectacled, introverted Clitandre (an adorkably sweet turn from Barry McCluskey), trying to catch up with his sweetheart and intended bride Henriette (played with vulnerable resilience and independence by Cait MacMullin). When Henriette meets with her more popular older sister Armande (a hilariously vain and self-absorbed performance from Hannah Forest Briand) in a café, we learn that Clitandre was once smitten with Armande, who has sworn off traditional relationships like marriage in the interests of academic and artistic learning, and rejected his love.

Of course, the young intended couple have barriers to overcome, chiefly Henriette’s overbearing, judgmental mother Philaminte (a domineering Kardashian-esque philosopher turn from Jessica Pellicciotta), who boasts a small army of “learned ladies” in a self-directed academy of their own making: Arganiette (wacky, woo bottle carrying Ilona Gal), expert in Health and Health Trends; Violette (an imperious, verbally agile Renisha Henry), expert in Government and Justice; Dorimene (a fastidious, unforgiving librarian-esqe Amy Leis); and Lucillia (a spacy, star-gazing Lauren Merotto), expert in Stars and Other Worldly. They are joined by Philaminte’s sister-in-law (her husband Chrysale’s sister), self-proclaimed heart-breaker Aunt Belise (played with outrageously funny, delusional panache by Jane Neumier).

On Henriette and Clitandre’s side are her brow-beaten father Chrysale (played with goofy cowardly lion kindness by Kareem Mark Vaude) and his other sister, lawyer Aunt Ariste (Nastasia Pappas-Kemps, with brilliant, level-headed good sense and wide-eyed energy). Rounding out the group are Chrysale and Philaminte’s household servants: Martine the maid (a cheeky, forthright and irreverent Iris Hallman) and Butler Lepine (Ian Williams, with a combination of uptight decorum and the enthusiasm of one who’s swallowed the poseur Kool-Aid).

Philaminte has other plans for Henriette, choosing celebrity boy wonder poet Trissotin (a hysterically classic, physical poseur artist turn from Brian Le) as husband for her youngest daughter. Trissotin has his eye on someone else; and problems of his own, when his talent and reputation are challenged by poetry performance power couple, lovers Vadius (Sansom Marchand, in a proud, haughty cypher turn) and Mademoiselle Fosina (an intimidating, sensual turn from Jacqueline JD Plante). Adding insult to injury, Philaminte gives her blessing when the jealous, attention-seeking Armande decides she wants Clitandre back!

Finally finding the gumption to stand up to his bossy wife, Chrysale hatches a plan with his sister Ariste to make it right for Henriette and Clitandre. And, as this is Molière, things have a way of working out—in some unexpected, surprising and wacky ways.

The Learned Ladies, George Brown
Ensemble. Set & costume design by Brandon Kleiman. Lighting design by Siobhan Sleath. Photo by Cylla von Tiedemann.

The razor-sharp satire pokes great fun at the fond and foolish rich people who become celebrities for no apparent reason other than for their over-the-top antics and ridiculous wealth; and those among the art and media glitterati who achieve fame with their mannequin good looks and artiste du jour popularity. And it rips into those who are slavishly and superficially dedicated to learning, their noses stuck in books and their heads up their asses—intolerant of and excluding those who don’t meet their unforgiving, idiotic standards. Through the red carpet galas; spa days; poetry tableaux; and yoga classes that are part yoga, part Tai Chi, part voguing—we see how artificial and disingenuous these idle rich folk are. Thankfully, authenticity, acceptance and inclusion win the day.

The Learned Ladies continues at the Young Centre until November 16; advance tickets available online or by calling the box office at 416-866-8666 or 1-888-898-1188.

Check out GBTS’s 2019-20 season, and keep up with this year’s graduating class on Facebook.

 

FireWorks Festival: Real-life fame, fortune & fall in the entertaining, heart-felt Belle Darling Klondike Queen

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Lindsay Sutherland Boal. Set design by Teodoro Dragonieri. Costume design by Adriana DeAngelis. Lighting design by Liam Stewart. Photo by Nicholas Porteous.

Alumnae Theatre Company (ATC) opens its annual FireWorks Festival of new works with Natalie Frijia’s Belle Darling Klondike Queen, directed by Lori Delorme, with music direction by Anita Beaty—running upstairs in the Studio. Part cabaret, part vaudeville, all heart—this highly entertaining and engaging piece of musical storytelling takes us on vaudeville star Klondike Kate’s (born Kathleen Rockwell) real-life journey of fame, fortune and fall, all set against the backdrop of fading days of the Klondike Gold Rush.

Put on your boots, leave your pick and sing along at the Portland Alaska Yukon Society’s 1931 Sourdough Reunion, featuring headliner—none other than the famous star of vaudeville stage—Klondike Kate (Lindsay Sutherland Boal)! Alumnae Theatre’s Studio Theatre has been transformed into a vaudeville music hall for this real-life tale of the highs and lows of Kate’s storied career in Canada’s North, and dreams of becoming a nation-wide vaudeville impressaria across the U.S.

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Sarah Kaufmann, Madeleine Keesmaat-Walsh, Roxhanne Norman & Lindsay Sutherland Boal. Set design by Teodoro Dragonieri. Costume design by Adriana DeAngelis. Lighting design by Liam Stewart. Photo by Nicholas Porteous.

Accompanied by a fine ensemble of multi-talented, multi-tasking actors (Sarah Kaufmann, Roxhanne Norman and Madeleine Keesmaat-Walsh), with piano player Calvin Laveck tickling the ivories, Kate takes us on a whirlwind musical and storytelling tour of her life—from wayward Victorian Catholic schoolgirl (Kathleen), to vaudeville chorus girl (Kitty), to headliner Belle Darling Klondike Queen (Kate), and a near miss as Pantages theatre partner and impressaria.

Kate has no use for being a “lady” in the traditional Victorian sense of the word, and sets off on an adventure of her own making—breaking gender barriers and the rules as she goes. Taking us back to the “good ‘ol days” with song, story and satire, the God’s honest truth is that these meanderings of nostalgia can’t erase the personal and financial risk, danger and heartbreak of those who tried their luck—and put their strength and resolve to the test—searching for gold in those freezing cold Northern mountains. All for fame and fortune.

Sutherland Boal gives a powerhouse performance as the ambitious, fearless Klondike Kate—a role that amply showcases her considerable vocal chops as she belts out rousing music hall tunes and caresses melancholy ballads. Sassy, classy, gutsy and irreverent, Kate turns away from what’s expected of her as a “good Victorian lady” to carve out her own path and live on her own terms. And beneath the seasoned showmanship and razzmatazz of Kate’s vaudeville persona, Sutherland Boal digs deep to reveal the broken-hearted woman who reached for it all only to find her ultimate dream of business partnership taken away. Disappointed, but not discouraged, she soldiers on—the show must go on, after all.

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Sarah Kaufmann. Set design by Teodoro Dragonieri. Costume design by Adriana DeAngelis. Lighting design by Liam Stewart. Photo by Nicholas Porteous.

She is well-supported by a stand-out ensemble; changing character on a dime in this fast-paced, alternately slapstick and poignant trip through music hall shenanigans both on and off the stage. Kaufmann is adorably Puck-like in her comic turns as the crafty entrepreneur Sophie, and a lusty young sourdough (a Yukon resident) on the make. Norman performs with a playful glint in her eye—and has an outstanding set of pipes herself—in her saucy turn as Kate’s pal and vaudeville partner Gertie; and the charming and irresistible, but false, Alexander Pantages. And Keesmaat-Walsh brings hilarity and swagger as Kate’s gruff boss Arizona Charlie and an awkward strong woman act, among others.

It’s a real-life adventure of fame, fortune and fall—told with song, story and heart. But you don’t have to believe me; check out the trailer (scroll down on the show page).

Belle Darling Klondike Queen continues in the Alumnae Studio Theatre until November 10; get advance tickets online or by calling 416-364-4170 (ext. 1), or pick up in-person at the box office one hour before curtain time (cash only). There will be a post-show talkback with the director, playwright and cast following the Saturday, November 9 matinée performance.

FireWorks continues its three-week run until November 24, presenting a new show each week: Crystal Wood’s Grief Circus, directed by Paige Foskett (Nov 13-17); and Genevieve Adam’s If the Shoe Fits, directed by Heather Keith (Nov 20-24).

 

 

Tragic Indigenous love story & pointed satire in the profoundly moving, playful, poetic Almighty Voice and His Wife

 

James Dallas Smith & Michaela Washburn. Set & video design by Ken MacKenzie. Costume design by Kinoo Arcentales. Lighting design by Jennifer Lennon. Photo by Dahlia Katz.

 

Biography meets pointed satire in Soulpepper’s production of Daniel David Moses’ Almighty Voice and His Wife; directed by Jani Lauzon, who performed in the Great Canadian Theatre Company’s premiere production 28 years ago, the show is currently running at the Young Centre. Using the tragic Indigenous love story of real-life Cree runner and hunter Almighty Voice and his wife White Girl as a starting point, the storytelling shifts from linear narrative to cutting vaudevillian send-up as the play dives deep into the contemporary reverberations of the ongoing clashes between European and Indigenous ways of life—and the oppression, ignorance and stereotyping that go with it. Profoundly moving, playful and poetic, it’s a poignant and magical theatrical work featuring some uncomfortable truths and discomfiting comic jabs.

Almighty Voice (James Dallas Smith) and White Girl (Michaela Washburn) are magnetically drawn to each other, his playful courtship breaking through her stern sense of decorum. Although a very young woman, she’s nobody’s fool; her experience of the world forever changed by her time in a Residential School. And as he expresses baffled irreverence for the ways of the white settlers and government, transforming hunting grounds into farmland, she is haunted by the white man’s “glass god” who watches over everything they do. Both have been given European names by the white authorities: he has been called Jean-Baptiste and she Marie; a proud and respected Cree man, he insists on his true name, Almighty Voice.

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James Dallas Smith. Set & video design by Ken MacKenzie. Costume design by Kinoo Arcentales. Lighting design by Jennifer Lennon. Photo by Dahlia Katz.

Arrested for shooting a cow for a feast, when he sees a scaffold being erected outside the jail, Almighty Voice hears that he will hang for his crime—a cruel joke that sets into motion a series of tragic events. On the run from the law, White Girl insists on coming with him; and things go from bad to worse when he kills a Mountie in self-defence. When she becomes pregnant, she must let him go on alone while she returns to family to give birth to their child. In the end, he and two warrior friends are killed in a stand-off with 100 Mounties and a cannon, the two lovers getting a final glimpse of each other in visions at the moment of his death, his infant son left without a father and their people starving as hunting grounds are replaced with farmland.

Act II shifts into razor-sharp satire, structured as a vaudeville performance. Here, Ghost (Smith) is the spirit of Almighty Voice, at first acting as the disoriented straight man to the saucy uniformed Interlocutor (Washburn), then gradually getting more familiar and comfortable with the performance style. The antiquated slapstick and bawdy theatrics shine a glaring spotlight on ongoing historical and contemporary clashes between European settler culture and government and Canada’s Indigenous Peoples. Scathing social commentary makes for some uncomfortable moments of dark comedy, as the “Show Indian” performs traditional dances and situation comedy making fun of Indigenous Peoples, and takes hits for the entertainment of the masses. And then, the tables are turned—and all the horrible stereotypes, prejudice and name-calling generated by European oppressors against Indigenous Peoples reverse course and land squarely on the Interlocutor.

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Michaela Washburn. Set & video design by Ken MacKenzie. Costume design by Kinoo Arcentales. Lighting design by Jennifer Lennon. Photo by Dahlia Katz.

Beautiful, compelling performances from Smith and Washburn in this epic, poetic and profoundly moving piece of storytelling. Smith brings a playful, impish charm to the proud, determined Almighty Voice, sparking both comedy and passion alongside Washburn’s fierce, strong-willed, resilient White Girl. A perfect match of complementary, courageous kindred spirits, Almighty Voice’s irreverent, almost devil-may-care attitude is in stark contrast to his wife’s wary caution, borne of her lived experience at a Residential School. During Act II, the two actors demonstrate considerable comedic chops with vintage mercurial banter, slapstick antics and satirical characterizations. The comedy is dark, pointed and often discomfiting in its racist oppressor jibes at Indigenous Peoples. And a surprising transformation takes place as the tables are turned on the authoritarian soldier Interlocutor.

The evocative, well-crafted work of the design team is in great evidence here, creating an atmosphere of heightened reality and vaudevillian showmanship. Ken MacKenzie’s set and video design is particularly stunning; the backdrop of the set is from the point of view of looking up at the sky through the smoke hole of a teepee. And the glowing, shifting full moon projection adds to the magic, poetry and natural wonder inherent in the storytelling.

Uncomfortable truths told with an epic love story and sharp wit. Go see this.

Almighty Voice and His Wife continues at the Young Centre until November 10; advance tickets available online, or by calling the box office at 416-866-8666 or 1-888-898-1188. Last night’s (Tuesday) performance was sold out, so advance booking strongly recommended to avoid disappointment.

ICYMI: Spotlight on director Jani Lauzon in Intermission Magazine.

And check out the trailer:

 

Toronto Fringe: Millennials surviving working & adulting in the lighthearted, satirical Above & Beyond

Seated: Tatyana Mitchell & Natasha Ramondino. Standing: Felix Beauchamp, Rabiya Mansoor, Andrea Irwin & Francis Masaba. Set and costume design by Jules Mendoza. Photo by Angela Sun.

 

JackieTol Productions gives us a lighthearted, satirical look at slogging it out in an office cubicle as two Millennial pals try to survive working and adulting in Jaclyn Toledano’s Above & Beyond, directed by Rebecca Ballarin and running in the Robert Gill Theatre.

BFFs Jamie (Tatyana Mitchell) and Nicole (Natasha Ramondino) are sales reps at Bright Star Tours, a travel agency that specializes in educational tour packages for schools. Former employees of Oyster Tours, Bright Star’s biggest competitor, Jamie is killing it at their new company, while Nicole—who used to also rock—is now struggling. Both are dying of boredom at this dead-end job, but Jamie’s able to play the game; Nicole not so much.

Added to the mix are their warm, technically-challenged boss Tracey (Andrea Irwin), and colleagues Steph the go-getter (Rabiya Mansoor), macho dude Brett (Francis Masaba) and charmer Jared (Felix Beauchamp). We also get a glimpse into Oyster Travel, a larger organization with a more corporate vibe, and their shark-like staff (played variously by Mansoor, Irwin, Beauchamp and Masaba)—who are stunned and perplexed that smaller fish Bright Star is outperforming them. Could it be that former employees Jamie and Nicole are now Bright Star’s secret weapons? And what’s the deal with Tracey’s hard-ass replacement Andrea (also played by Irwin)?

From soul-destroying moments on the job, to presentations, holiday parties and advice on Tinder swiping, anyone who’s worked in a cubicle farm will certainly recognize these characters and workplace situations—and shouts to the cast for their sharply drawn work. Mitchell and Ramondino are nicely matched, with Mitchell’s chill Jamie taking their situation in stride, her friendly out-going nature endearing her to the teachers she pitches to. But being too easy-going can land you in trouble sometimes. Ramondino’s Nicole is reminiscent of Anna Kendrick in Pitch Perfect; wry-witted and cynical, she’s wondering WTF she’s doing there and if it’s the right place for her—and if she’ll ever get her sales groove back.

Outstanding character work from Irwin, switching from the amiable, supportive boss Tracey, to the sharp corporate Oyster employee, to the scary mean girl boss Andrea and the sweet, protective teacher Helen. Mansoor brings big LOLs as Steph the uber keener; you know the type, and you’re never quite sure if it’s all a put-on or if they’re really that into their job. Masaba also brings the comedy as the office’s bro about town Brett; full of himself and utterly clueless about how he comes across, Brett is clearly enjoying his cruise through work and life. And Beauchamp is adorably charming as Jared, bringing just the right amount of slick to make you wonder if he’s actually a good guy or not.

It’s fun, it’s relatable—and you may find yourself asking if you’re living to work or working to live. And sometimes, it takes a little while to get your work groove back.

Above and Beyond continues at the Robert Gill Theatre to July 13. Check the show page for exact dates/times and advance tickets.

Toronto Fringe: Telling stories in the darkly funny, quirky, satirical News Play

Clockwise from bottom: Andrew Cromwell, Rouvan Silogix, Greg Solomon, Madeleine Brown & Charlin McIsaac. Photo by Graham Isador.

 

Theatre ARTaud and Lal Mirch Productions, in association with Prairie Fire, Please give us a dark satirical look at storytelling and journalism in Madeleine Brown’s sharply funny, quirky, edgy News Play, directed by Aaron Jan and running at the Annex Theatre.

Brother and sister children’s book team, illustrator Phoebus (Greg Solomon) and writer Joy (Charlin McIsaac), have hit a wall in their career; the fire woman superhero featured in their books is scaring kids and making them feel bad about themselves. When they return to their hometown Peterborough to visit their cousin Winny (Madeleine Brown), a troubled pyromaniac since the death of her parents in a fire when they were all kids—and the inspiration for their work—they find themselves suddenly becoming journalists. Winny’s recent fire escapade accidentally killed two Peterborough Examiner reporters, and Editor in Chief Art (Andrew Cromwell), former classmate and school bully, blackmails them into working for him in exchange for not suing Winny. The goal: sell 100 papers.

The siblings’ first assignment is producing an exciting piece about a local natural landmark—a big rock. They strike gold when Winny injures her hand while punching it, spinning the event into a story of significant bravery and resilience, while also making the town’s “crazy fire girl” look good in the media. This inspires local charity organizer Lyle (Rouvan Silogix) into inviting Winny to be the torch putter-outer at an upcoming event supporting those who’ve soldiered through personal injury.

Things go from crazy to bad to worse when Joy decides to take things to the next level. How far will she go for subject matter that people will want to read? Will her relationship with her brother, who’s against her increasingly extreme methods, be the same? And will their cousin Winny survive it all?

Great work from the cast is this sharp satirical trip. McIsaac and Solomon are great foils as the positive, cheerful Joy and the cynical, edgy Phoebus. Brown gives a lovely vulnerable performance as the shy, awkward Winny, who really does have reserves of strength that largely go unnoticed; still living in a town where everyone thinks she’s crazy, Winny perseveres because it’s her home. Cromwell plays the edge of menacing bully and charming manipulator as Art; you can tell immediately that Art was the school bully, and he’s desperate and amoral enough to go along with whatever scheme will sell newspapers. And Silogix gives lovely comic turns as the clueless, enthusiastic charity organizer Lyle and the gruff Greyhound bus driver.

Telling stories, making up stories and reporting stories—sometimes, they can overlap and get all mixed up. Are we fetishizing personal injury in our news media and charities? And is fake news, however small and local, ever harmless?

News Play continues at the Annex Theatre until July 13; check the show page for exact dates/times and advance tickets.

Gender power dynamics get a table flip in the provocative, timely Beautiful Man

Foreground: Ashley Botting, Mayko Nguyen & Sofía Rodríguez. Background: Jess LaVercombe. Set design by Gillian Gallow. Costume design by Ming Wong. Lighting design by Jason Hand. Photo by Joseph Michael Photography.

 

Factory Theatre closes its 2018-19 season with Erin Shields’ Beautiful Man. Directed by long-time Shields collaborator Andrea Donaldson (now the new AD at Nightwood Theatre), assisted by Keshia Palm, Beautiful Man was first produced during SummerWorks in 2015—a few years before the #MeToo movement exploded into public consciousness. A hilariously sharp, satirical and thought-provoking turnabout of gender power dynamics, Shields has revised the original script to reflect the #MeToo landscape; and has added a section that provides a sense of everyday realism—in both cases, flipping gender power roles in surprising, provocative ways.

I first saw Beautiful Man at SummerWorks 2015—and loved it. Not for the feint-hearted when it comes to adult language, and discussions of graphic sex and violence, the razor-sharp, bawdy, no holds barred script and the playful, rapid fire performances turn the tables on who is marginalized and objectified. Three women—Jennifer (Ashley Botting), Sophie (Mayko Nguyen) and Pam (Sofía Rodríguez)—get into a passionate discussion about popular scripted media; all stories in which the female characters hold the power, and men are subject to objectification and violence. A movie about a world-weary, tough yet haunted female homicide detective on the hunt for a female serial killer who preys on beautiful men. Exhausted and zoning out in front of the TV, the detective watches a violent, graphically sexual Game of Thrones-esque fantasy fiction series featuring a powerful, cruel queen and her amazon warrior sister. Within the TV show, the queen watches a play with a plot that’s similar to Julius Caesar, but with women in the key roles; and within that play, a puppet show starring a lusty cave woman. Yep, it’s a puppet show within a play, within a TV series, within a movie—all within a play!

Throughout this first fantasy section of the play, the Beautiful Man (Jesse LaVercombe) is a peripheral character, always present in the background, with little to say as he gradually removes his clothing throughout. A sensitive, supportive but frustrated husband; a poignant murder/rape victim; a conquered sex slave. Valued only for his beauty and usefulness to the women in charge, his name is perpetually forgotten. In the epilogue, the shifted power dynamic continues, but in a markedly different way, as a woman relates personal anecdotes of navigating everyday corporate oppression, mansplaining, harassment, self-doubt and chastisement, and fear for her safety.

Outstanding performances from the entire cast in this thought-provoking, timely piece of theatre. Beyond mere fan girl involvement with the media they’re consuming and discussing, the three women engage on a deeply personal level with the movie, TV series, play and puppet show. Botting’s Jennifer displays wry wit and shameless enthusiasm; Nguyen’s Sophie brings an edge of precision and authority; and Rodríguez’s Pam relishes the sensual and forbidden. At times misremembering details in their reverie, these three  women find a titillating oasis in these stories of sex, violence and dominant female characters. And LaVercombe gives a sensitive and moving performance as the Beautiful Man. Viewed as eye candy, the “other half”, a sex object, a victim, and only subjectively and conditionally seen as useful—this is a man standing in places traditionally endured by women.

Despite the graphic sex and violence described during the first part of the play, not to mention the fact that these women are really getting off on it, the second part is perhaps the most provocative. What impact does it have on the conversations about these issues? Will the everyday oppression of women be better understood when told in this manner? Who gets the last word?

Beautiful Man continues in the Factory Theatre Mainspace until May 26; advance tickets available online or by calling the box office at 416- 504-9971.

Check out this Intermission Spotlight piece on Shields and her work by Carly Maga, including chats with Shields, Donaldson and Maev Beaty. And Megan Robinson’s conversation with Shields and Donaldson in In the Greenroom.

Political satire with extra bite in the hilarious, astutely observed 1979

Philip Riccio. Set design by Steve Lucas. Lighting design by Nick Blais. Projection design by Scott Reid. Costume design by Jennifer Lee Arsenault. Photo by Dahlia Katz.

 

The 1979 Group presents Michael Healey’s 1979, a razor-sharp, satirical look at Joe Clark’s brief tenure as Prime Minister, the budget vote that was the beginning of the end for his minority Progressive Conservative government, and the shift in Canadian Conservative politics—directed by Miles Potter and running at the Berkeley Street Theatre Downstairs.

Set in the Prime Minister’s impressive wood-panelled office (set by Steve Lucas, with lighting by Nick Blais), 1979 imagines the events around December 11, 1979—the fateful day the new Progressive Conservative government presented its first budget. It’s a big day for fledgling PM Joe Clark—the “nobody” from Alberta who beat Pierre Trudeau and the Liberals in the June 1979 election (though it could easily be argued it was a rejection of Trudeau and the Liberals, as opposed to an outright win). Clark’s minority government is scrambling for numbers on the budget vote (which includes a widely hated gas tax) amidst a Liberal opposition coalition with the NDP, and assholes among its own ranks. And on top of that, Clark and his Minister of External Affairs Flora MacDonald are coordinating an extremely sensitive life and death mission with the CIA to sneak six Americans out of the Canadian embassy in Tehran and get them safely back home.

A hilarious, quick-paced distillation of events and the political climate of the time, 1979 both embraces and parodies its real-life characters. Philip Riccio gives a classic comic straight man performance as Clark, suitably outfitted in a bland light brown corduroy suit (costumes by Jennifer Lee Arsenault). There’s an exterior calm that belies the screaming frustration within, as he patiently endures constant interruptions from various Parliament Hill colleagues throughout, finally getting a brief moment of respite and privacy when his wife Maureen McTeer drops by. Determined to do good for everyone in Canada—and not just those who voted for him—he eschews political gamesmanship for doing what’s right. Undervalued, underestimated and ignored, Clark perseveres even at the risk of losing his job and his party’s re-election.

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Christopher Hunt as Pierre Trudeau. Set design by Steve Lucas. Lighting design by Nick Blais. Projection design by Scott Reid. Costume design by Jennifer Lee Arsenault. Photo by Dahlia Katz.

Christopher Hunt and Jamie Konchak do a remarkable job playing the cast of characters (of both genders) who burst in and out of Clark’s office; brilliantly supported by Arsenault’s artful costuming, including some impressive quick changes. Most notably, Hunt gives hysterical performances as the bombastic, hyper-tense, sewer-mouthed John Crosby, bursting through the door like an angry bull, sweating over the budget; and a perfectly self-absorbed, flamboyant and arrogant Pierre Trudeau, as much in love with his own celebrity as he is with the acquisition of power (accompanied with hilarious groovy-ness by Thomas Geddes’ sound design). Konchak is a plucky delight as the warm, smart and savvy Flora MacDonald; as well as Clark’s lovely wife McTeer, who’s navigating bar exams while supporting him personally and professionally. Konchak also brings us shades of things to come for the Conservative Party, with her slick, shrewd leader-in-waiting Brian Mulroney; and a wide-eyed, awkward young Stephen Harper, included in a scene of artistic licence—a harbinger of the self-serving, politics-spewing Conservative Party of Canada on the horizon.

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Jamie Konchak as Stephen Harper & Philip Riccio as Joe Clark. Set design by Steve Lucas. Lighting design by Nick Blais. Projection design by Scott Reid. Costume design by Jennifer Lee Arsenault. Photo by Dahlia Katz.

Even if you’re not up on Canadian political history, 1979 is an entertaining and eye-opening trip, supported by projected text (projection design by Scott Reid), as well as a timeline at the back of the program, that will keep you up to speed about who’s who and what’s what on Parliament Hill. Encapsulating the political climate of the time with irreverence and astute observation, the play serves as a chilling remembrance of the death of “Progressive” for the Conservative Party of Canada, and the fact that Clark—a man who seems to be too decent for a political career in this environment—was steamrollered by a system that values politics over policy, and a party that was veering right of centre.

1979 continues at the Berkeley Street Theatre Downstairs until January 27; advance tickets available online or by calling the box office at 416-368-3110.