Toronto Fringe: Conflict, family & connection in the compelling, moving Checkpoint 300

Back: Brittany Cope. Front: Ori Black & Lizette Mynhardt. Photo by Adrianna Prosser.

 

Tamaya Productions, this year’s winner of Fringe’s First Play Competition, presents Checkpoint 300, written and directed by Michelle Wise, assisted by Duncan Rowe, and running in the Factory Theatre Mainspace. A tragic incident at the Israel-Palestine border involving the first female soldier assigned to a checkpoint brings two women from opposite sides together as the soldier deals with the aftermath and a reporter looks for answers in this compelling, moving story.

Shiri (Lizette Mynhardt), a young Israeli soldier, has just completed punishing training and rigourous testing in order to be the first female soldier assigned to an Israel-Palestine border checkpoint. Her mother Tivka (Jorie Morrow) is concerned but supportive, and her father Benny (Geoff Mays) worries and wonders why she couldn’t have aimed for a safer office position. Shiri’s commanding officer Shay (Ori Black) is taken aback by the posting, but takes it in stride, acknowledging that she’s passed the same training and testing the male soldiers have, and makes a place for her on the team.

On the Palestinian side, reporter Amelie (Brittany Cope) leaves her family home for Paris, for a life away from the oppressive environment of constant policing, control and monitoring. Her gentle, easy-going father Bashir (Mays) and mother Nabila (Morrow) want her close to home, and on a more traditional path, including a husband and family. Her younger brother Walid (Amir Pour) works with their father as a mechanic when he’s not playing soccer.

Amelie and Shiri are brought together following a tragic incident at the checkpoint, where an Israeli soldier and a Palestinian man were killed—the latter a terrorist suspect. Shiri refuses to speak of the incident to anyone, and her mother arranges a meeting with Amelie in the hopes that Shiri will get to tell her side, and achieve some closure and relief. And as the story unfolds, Shiri and Amelie’s personal connections to the incident are revealed.

Lovely work from the cast in this often intense tale of conflict, family and connection; and where everyday life proceeds with humour and a sense of pragmatism, coloured by which side of the border one lives on. Mynhardt’s Shiri is a tightly coiled combination of determined ambition and nervous anticipation; Shiri wants to do something that makes a difference, but is all too aware of the many eyes on her with this historic posting. Cope’s performance as Amelie reveals a sense of resilience, drive and heart; like Shiri, Amelie is an ambitious, hard-working professional in a male-dominated field—and must now navigate personal feelings as she seeks to find the truth.

Black is a likeable, irreverent, and highly skilled leader as Shay; not too sure how this girl at the checkpoint thing is going to work, Shay takes a professional attitude and becomes a mentor to the rookie Shiri. Pour brings a sense of fun and mischief to the cocky youth Walid; clocking time at the shop with his father, he dreams of a life away from there—and glory on the soccer pitch. The casting of Morrow and Mays as both sets of parents is both fitting and poignant here, as it serves to highlight the commonalities on opposite sides of the border. Parents worry and try to usher their children toward what they think is best for them. And, no matter where they are, they want much the same thing: for their families to be safe and for their children to have a good future.

Even in an environment of conflict, opposing sides always have something in common—a way to connect. But easier said than done when fear and mistrust run so deep and for so long. Can hope and love have a chance?

Checkpoint 300 continues in the Factory Theatre Mainspace for two more performances: July 13 at 10:15 and July 14 at 4:00; check the show page for advance tickets.

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Struggling with life’s complexities in the quirky, hilarious, poignant George F. Walker double bill: Her Inside Life & Kill the Poor

Left: Catherine Fitch in Her Inside Life. Right: Craig Henderson & Anne van Leeuwen in Kill the Poor. Photos by John Gundy.

 

Leroy Street Theatre and Low Rise Productions join forces, with the assistance of Storefront Theatre, to present a world premiere double bill of two George F. Walker plays: Her Inside Life, directed by Andrea Wasserman, and Kill the Poor, directed by Wes Berger—completing The Parkdale Palace Trilogy after a successful run of Chance last Fall. Featuring sharply drawn characters living on the fringes of urban society, it’s classic Walker; a brilliant, quirky, hilarious and poignant look at life’s “losers” as they struggle with unique and complex problems. The compelling and entertaining double bill opened last night at The Assembly Theatre.

Her Inside Life (directed by Andrea Wasserman). A woman convicted of murder, under house arrest due to mental incapacity, discovers that the second man she thought she’d killed is still alive.

Former English literature teacher Violet (Catherine Fitch) is under house arrest for the murder of her husband Keith, who she believes was a serial killer. Found to be mentally incapacitated, she’s under the mandatory supervision of social worker Cathy (Sarah Murphy-Dyson); and the two are engaged in an ongoing battle of wills over Violet’s medication and erratic behaviour. Violet’s previously absent daughter Maddy (Lesley Robertson) arrives on the scene, wanting to help but struggling with her own demons. Violet longs to see her two grandkids—and Cathy and Maddy team up in an attempt to make that happen.

When Violet learns that the second man she thought she’d killed-her brother-in-law Leo (Tony Munch)-is alive and recently out of prison, her drive for exoneration and acceptance of her story is renewed. She believes that Leo was an accessory to Keith’s murders; and she’s convinced that her mother-in-law’s diaries have evidence to prove her theory. Trouble is, they’re written in Lithuanian. As Maddy and Violet attempt to translate the diaries, Cathy discovers Violet’s unorthodox means of getting information from Leo. And that’s when things get really crazy.

Fitch is a treat as the quirky, funny and highly intelligent Violet; impishly mischievous and charming, Violet is a tricky customer who knows how to play the system-and what she lacks in tact, she makes up for in chutzpah. Longing for some independence and dignity, and desperate to be believed, she fights the odds to be heard. Murphy-Dyson is a perfect foil as Cathy; put-upon, yet friendly, patient and professional, Cathy truly cares for and wants to help Violet—but she’s nobody’s fool and won’t take any bullshit. Robertson is both goofy and heartbreaking as Maddy; having been through the wars emotionally herself, Maddy is a struggling alcoholic with an asshole for a husband. She wants to help, but could use a hand herself. Munch’s Leo is a complex combination of low-level thug and hurt little boy; a reminder that bullies are what they are for a reason, there’s a soft, gooey centre under that hard shell.

Kill the Poor (directed by Wes Berger, assisted by Breanna Dillon and Marisa McIntyre). A young couple recovering from a tragic car accident are assisted by their building’s handyman, a disbarred lawyer who bites off more than he can chew with his plan to get justice.

As Lacey (Anne van Leeuwen) arrives home to continue recovering from a tragic car accident that took her brother Tim’s life, she and husband Jake (Craig Henderson) must now also figure out how they’re going to organize and pay for Tim’s funeral. When their building handyman Harry (Ron Lea) learns of their predicament, he offers to help; a disbarred, former crooked lawyer, he hatches a plan to create a witness in Lacey’s favour.

Meanwhile, police detective Annie (Chandra Galasso) wants some answers about what happened the night of the accident, but Lacey can’t even remember who was driving her car, let alone which driver ran the red light. The other driver, Mr. David (Al Bernstein), who came away relatively unscathed in his Escalade, shows up with a large cheque , claiming it’s to cover the cost of Lacey’s totalled car. And when Harry’s plan is tweaked to target Mr. David, the gang finds they’ve bitten off more than they can chew when they find out about his ties to organized crime. Then, things get really tense.

There’s great chemistry between van Leeuwen’s street-smart, grown-up Lacey and Henderson’s dim-witted, child-like, loyal Jake. Looking after her mom, keeping Jake on the straight and narrow, and now having to plan her brother’s funeral—all while still recovering from her injuries—Lacey finds reserves of strength even she didn’t know she had. Lea is a laugh riot as the eccentric, energetic Harry; shifting from waxing philosophical, to hilarious bursts of outrage, to devious scheming, Harry is fighting for redemption from a checkered past. Galasso’s Annie brings the edge and skepticism of a seasoned cop, softened by a strong sense of compassion; while Annie can be a suspicious hard-ass, the harshness of the job hasn’t dulled her drive to serve and protect. And Bernstein’s Mr. David is a compelling collage of menacing presence, dark comic wise guy and empathetic listener. David feels for Lacey’s situation, but won’t have his reputation and livelihood put in jeopardy by attracting unwanted attention in a possible vehicular manslaughter trial.

 

Once again, Walker reminds us that there’s so much more to people than meets the eye—including those we would write off due to socioeconomic status, chosen profession, or mental or intellectual capacity. In the end, we’re all just trying the best we can to make it through the day with some dignity and security—and some days are freakier than others.

Her Inside Life and Kill the Poor continue at The Assembly Theatre until November 18; both shows run every night, with alternating curtain times of 7pm and 9pm. Get advance tickets online or purchase at the door; it’s an intimate venue and a strong production, so advance booking strongly recommended.