cheri-on-the-run-productions invites us to sit down with a former courtesan as she ruminates on love, beauty and aging in the intimate, haunting Cheri. Inspired by the novels of Colette, and written and directed by Sky Gilbert, with music composed by Dustin Peters, Cheri is currently running in the Al Green Theatre for Toronto Fringe.
A music theatre piece within a theatre piece, Cheri weaves storytelling by way of personal anecdotes and reminiscences, and songs—all presented by our hostess Lea (Theresa Tova), a retired courtesan accompanied by the beautiful pianist/singer we only come to know as Cheri (Dustin Peters). And the farther she wanders down the road of memory and loves past, the more she sees in her accompanist the face of lost love—her Cheri.
Tova gives a powerhouse performance as Lea; her elegance, moxie and nostalgic melancholy hearkens back to the golden age of vaudeville and cabaret. Passionate, playful, petulant, and filled with a lust for life and all that is elegant and lovely, Lea is a hopeless romantic with a penchant for harsh honesty. And her heartbreaking torch songs are delivered with vulnerable candor and rich, resonant vocals. As Cheri, Peters is the perfect foil; fastidious, aloof and having none of Lea’s shenanigans and flirtations, Cheri (we never do learn his real name) bears himself with directness and professionalism. Cheri’s desire for privacy and boundaries could be construed as secretive and stand-offish, but one gets the impression that it’s the armour that protects his soul against the barrage of attention his beauty garners.
The march of Time is inevitable and aging is a natural part of life. We can choose to accept ourselves at each stage of our lives and continue moving forward as we cherish our memories of younger days—or risk getting lost in the past.
Cheri continues in the Al Green Theatre until July 15; check the show page for exact times and dates.
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.
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.