Vancouver-based writer/performer Megan Phillips was in town at Bad Dog Theatre last night for a one-night-only performance of her autobiographical piece Periscope—the up and down journey of finding equilibrium in her life when personal day-to-day miracles stopped coming—directed by Jeff Leard, with dramaturgy by TJ Dawe and music by Leif Ingebrigtsen.
Having done some hard soul-searching and putting in the work to correct the previous ongoing bad behaviour that was creating unnecessary drama and negative outcomes in her life, Phillips’ life was coming up roses, with a productive, successful career, as well as good professional and personal relationships. And suddenly, these life miracles stopped.
Struggling to get her groove back and keep on the path of being a productive, happy, responsible adult, she embarks on a plan to network and make friends while she bartends at a big comedy industry event. She’s confident in her plan, but anxiety keeps rearing its ugly head, so she self-medicates with MDMA to take the edge off her anxiety. And while her subsequent high behaviour turns her attendance at this event into a careening train wreck, the rock bottom it puts her in offers enlightenment and understanding.
Candid, vulnerable, poignant and sharply funny, Phillips takes us step by step through her journey and subsequent epiphany. Highlighting how it’s impossible to be “happy” all the time—including moments of the Zen of mental health—it’s a reminder that we all need to recognize, accept and move through the “negative” feelings that come up for us. We need to move past the pain to get to the joy, in the ongoing cycle that is life. After all, we can’t have joy without pain—and sometimes, we need a periscope view above all the shit in our lives to get some distance on it and laugh at it all.
This was a one-off performance of Periscope, but keep an eye out for Phillips if you happen to be in Vancouver—and look out for her return to Toronto.
Tell me a story. Real or made-up? Both. Happy or sad? Both.
These are the opening lines of TJ Dawe and Rita Bozi’s 52 Pick-up – produced by the Howland Company, and directed by Courtney Ch’ng Lancaster and Paolo Santalucia – setting the stage for a random, non-linear piece of two-handed storytelling about the beginning, middle and ending of a relationship. After delighting sold-out houses at last year’s Toronto Fringe, then going on to The Best of Fringe, the production is getting a remount at Fraser Studios.
52 Pick-up has a performance rotation of four couples: two guy/girl, one girl/girl and one guy/guy. I’d previously seen both guy/girl couples: real-life couple Hallie Seline/Cameron Laurie and Ruth Goodwin/Alexander Crowther. The remount features two new actors, replacing co-directors Ch’ng Lancaster and Santalucia, who both acted in the Fringe production: Llyandra Jones and Alexander Plouffe, who stepped in to play half of the same-sex couples (with Kristen Zaza and James Graham, respectively). I saw the girl/girl couple (Zaza and Jones) yesterday afternoon.
For those who haven’t seen 52 Pick-up, it goes something like this. At the top of the show, the relationship has already ended and the couple decide, together, to tell us their story. The order in which the story is told is dictated by the random selection from a deck of cards, tossed into the air, each card containing a word or phrase that defines the scene they’re about to play out for us.
So, between the four rotating couples and the random running order, you’ll never see the same story the same way twice – even with the same couple. The outcome can also result in some happy coincidences, like yesterday when the “Psychic” scene came right after a scene in which psychics were discussed. Each couple makes it clear that they’re telling us a story, winding in and out of scenes and returning to us, the cards on the floor and the box into which the discards go. Speaking directly to us – and like the “How do you know her?” scene – sometimes gently interacting with someone in the audience, the actors charm, engage and move us. It’s like hearing two friends talk about how they met, courted and gradually grew apart before breaking up – and even though the story is told out of order, your mind wants to put it together, like a puzzle, in linear format. And, like most break-ups, there isn’t necessarily a readily definable ‘why’ – and, in many cases, it’s about two people coming to realize that they just don’t fit together.
For those who have seen one of the guy/girl pairings, Zaza takes on the “girl” role and Jones the “guy.” In many respects, it would be more helpful to describe the couple as Person A and Person B. This is not about imposing heteronormative dynamics on the same-sex couples, it’s about showing two personality types come together, and the way the two succeed – or fail – to connect. Seeing a same-sex couple in this show, especially for those unfamiliar with such a relationship, highlights how romantic relationships aren’t so dependent on sex and gender as they are on personal character dynamics, lifestyle issues and wanting the same things from life.
Zaza and Jones have great chemistry, telling us the story of this couple with a playful sense of awkwardness, passion and romantic friction – with great comic timing and emotional connection. This couple is adorably awkward, earnest and committed, from the brief meet cute over the bladder health benefits of cranberry juice to the sniping over how to chop carrots – funny, moving and above all truthful. Jones brings a lovely bashful, soft butch quality to her laid back, home body character, while Zaza is the bubbly, assertive and outgoing femme – and we’re sad to see these two characters part.
52 Pick-up has all the magic, heart, comedy and truth of falling in and out of love. Now, if I can only work out my scheduling to see the guy/guy couple. Go see this – or go see this again. And again.
The Howland Company’s production of TJ Dawe and Rita Bozi’s 52 Pick-up, directed by Courtney Ch’ng Lancaster and Paolo Santalucia, is a truly unique, moving and entertaining theatrical experience that audiences are loving at this year’s Toronto Fringe.
Part sharply written theatre and part improv, 52 Pick-up tells the story of one relationship, played out over 52 short scenes, all dictated by words or phrases written on a deck of playing cards. The actors throw the cards into the air, then randomly select one and play the scene – repeating until they’ve gone through the entire deck.
The show will never play the same way twice, partly because of how it’s structured and also due to the fact that the pair of actors changes with each show: Ruth Goodwin and Alex Crowther, Courtney Ch’ng Lancaster and Kristen Zara, Hallie Seline and Cameron Laurie, and Paolo Santalucia and James Graham.
The performance I saw yesterday featured Seline and Laurie – and they were a joy to watch. The relationship has broken up and we see them play out scenes from their history as a couple. Seline is lovely and sassy as the world traveller girlfriend of the pair, delivering some awesome emotive punctuation at the end of each scene, carrying through the mood as she places the finished card into the box. Laurie is adorkably sweet in a Harry Potter sort of way (he wears glasses in this), a homebody and so perfectly his girlfriend’s opposite/complement. Both actors are engaging and truthful as the couple struggles through the relationship’s ups and downs. Try as they may to be good sports with the other’s foibles, baggage and divergent life goals/desires, the two eventually come to face the reality that the relationship is just not meant to be.
From their awkward first meeting, to sharing personal histories, to the chilly silences and curse-laden fights, we see the world of this relationship play out over the course of 75 minutes – and, as the scenes are drawn randomly, the relationship is not revealed in a chronological arc. And I love how it all begins and ends with “Tell me a story…”
52 Pick-up is a remarkable show – a brilliant concept with an outstanding cast.