SummerWorks: Pick-up artistry meets consent culture in the hilarious, disturbing, eye-opening Safe and Sorry

Lauren Gillis. Photo by Peter Demas.

 

Lester Trips Theatre presents a provocative multimedia workshop production of the hilarious, disturbing, eye-opening Safe and Sorry. Co-created and performed by Lauren Gillis and Alaine Hutton, co-performed and choreographed by Angela Blumberg, and directed by Chelsea Dab Hilke, we’re invited into the world of Keith Much, who leads workshops aimed at helping men with their dating and pick-up game. His process, a combination of pick-up artistry and consent culture, amasses a lot of fans; it also finds detractors—and Keith begins to see the darker side of male desire as he reads the comments on his message board. Safe and Sorry had its second performance in the Franco Boni Theatre at The Theatre Centre last night.

The audience becomes part of a Keith Much (Lauren Gillis) dating workshop, where our affable facilitator mixes up quick lecture bites with Q&A and one-on-one sessions on stage with a variety of participants (Alaine Hutton)—from overly enthusiastic bro’s like Mike to painfully shy dudes like Stu. His unorthodox methods make for hilarious, but instructive moments, as he teaches men about respectful approaches, consent, body language, verbal and non-verbal cues, personal hygiene and kissing.

Keith’s helpful and progressive teachings aim to make sure that both the man and woman are having good, safe, sexy fun times; but as his popularity grows and his message board gets more traffic, so too do the darker responses from the toxic masculinity side of the straight male spectrum. And he comes face to face with the dark side when an aggressive, frustrated participant disrupts a workshop Q&A, forcing him to call a break have a sit-down with the guy. This man wants to find a wife, settle down and have a family, but finds women only want to party and will dump a good guy like him for the next best thing. Angered and entitled, he believed that his excellent socioeconomic status would make a difference, but it isn’t; and he eventually identifies as incel. The toxic responses online begin to turn on Keith, as some of these men begin to question his credibility.

In between workshop scenes, we see a trailer for a movie (film design by Peter Demas, with lighting and video design by Wesley McKenzie, nicely supported by Steven Conway’s music arrangement/performance) in which four men (played by Gillis and Hutton), unknown to each other, have been abducted and chained up in a concrete bunker. As they try to figure out why they’ve been taken, they realize what they each have in common: they’ve all committed rape—and the psychological thriller scenario implies that a woman (or group of women) is out for revenge. And while the men in the trailer are forced to confront what they’ve done, women are placed in the position of being a threat, the enemy—this becomes a parallel of sorts to the dark side views that Keith sees emerging in his message board comments.

Excellent work from Gillis and Hutton in this multimedia, multi-layered trip into the male psyche from a consent culture perspective. Gillis is amiable, warm and confident as Keith; knowledgeable, professional and helpful, Keith creates a safe, supportive environment for men to share their issues, work out problems and improve their dating game. Hutton’s multi-tasking role as the various workshop participants ranges from the hilarious and goofy, to the extremely awkward and shy, to the everyday, to the angry, entitled and menacing. The movie trailer adds an interesting level to this exploration of male desire and toxic masculinity, but it’s the interaction between Keith and the men, especially the incel guy, that makes for the most powerful and compelling moments. Looking forward to seeing the evolution of this timely, thought-provoking piece; part two of Safe and Sorry is coming Spring 2020.

Safe & Sorry has one more performance in the Franco Boni Theatre at the Theatre Centre: August 16 at 5:00 p.m. Tickets available online or in person at the box office; it’s a very short three-show run, so advance booking or early arrival at the venue is recommended.

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.