This article is a re-review of a show which I previously saw at the QUONTA (northeastern Ontario) festival in March. As such, it concentrates on the differences and changes in the show and in my reactions to it. To read the original review from March, go here: Tough to Love
Lucy
by Damien Atkins
Presented by Sault Theatre Workshop
Representing QUONTA Drama Region
Even on a second viewing, this production of Lucy remains an extraordinarily gripping experience. It can also be disquieting and disturbing -- certainly not a light evening of entertainment, but just as certainly the play is thought-provoking.
I also want to pin a blanket caveat onto my observations of differences. In Timmins I was seated in the very front row of a very high, large auditorium. In Ottawa, we had a somewhat lower auditorium in a more conventional shape, and I was seated about 2/3 of the way back. Many of the differences in my perception of the show might be due to that difference in seat location and change in venue.
As well, there was a significant casting change: Mark Daniher, who played the small but significant role of Gavin, was not available for this re-staging and his place was taken in Ottawa by Marc Beaudette. So let's begin right there. This change brought both gains and losses. Beaudette was, I felt, much stronger and clearer in presenting the vocal side of Gavin's character, but seemed at a bit of a loss as to what to do on the physical side. Occasionally, he fell into the disconcerting mannerism of twisting back and forth on the spot. The biggest gain came in the final climactic scene when his direct accusation to Vivian -- "You left her!" -- came rocketing out loud and clear where it was formerly submerged in the general uproar.
In the central role of Lucy, Calista Jones certainly developed extra dimensions in her portrayal. Formerly, I felt she operated on two different levels: external and internal. Now, her handling of the text and of her emotions took on more shades of meaning and intensity, added more levels and dimensions to the character, and drew even more audience sympathy to her than the first time I saw the show. The unique, total immersion quality of her performance was more than remarkable in a young performer taking on a first stage role.
It's really hard to balance the role of Lucy's mother, Vivian. As written, it invites -- almost demands -- a progressive descent into over-the-top hysteria. I did feel that Catherina Warren's performance on this stage went a little too far past the delicate point of balance, and went there a little too early in the play, making it harder for her to raise the stakes in the final climactic confrontation as she absolutely must do. BUT -- when she did break, collapse, and weep as she apologized to Lucy, and then held her, she touched a level of emotional truth and depth that she didn't quite reach the last time.
Shame on me, for needing an adjudicator to point out to me how Wendylynn Levoskin as Julia (Vivian's research assistant) kept playing scenes in profile, facing directly towards the wings in order to meet Vivian head-on as one might in real life. Right there is the key issue with this role, even though Levoskin has a good grasp of the nature of the character and of the difficulties of relating to an employer with such an unusual personality.
Michael Haggerman as Morris, the therapist, remained -- as before -- more convincing in the physical side of the character than in the vocal. His most effective and believable moments, then, were those where he turned his attention from Vivian (the parent) to Lucy herself (the patient).
More so than in March, the play resonated with me as a plea -- a demand -- that each of us re-examine how we react to and treat people among us who are "different" in any way. Do we demand of them that they meet some particular norm or do we leave them free to be who they are? The ending also left me wondering what would happen in another ten years to Vivian, and especially to Lucy. Playwright Damien Atkins has left all sorts of open-ended thoughts to us, and the great strength of this production -- in spite of some major issues -- is that it has captured the dramatic intensity of the script and also succeeded in leaving those open ends for us to ponder in our own ways, and in our own good time.
_____________________________
A footnote: As usual, I avoided attending the detailed adjudications because my own thoughts on the productions were not yet firm enough to avoid being "modified" as I heard what the adjudicator had to say. But I wholeheartedly agreed with her decision to award Calista Jones with an award as "Outstanding Newcomer" of the Festival (there were several). And I definitely noted how the applause and cheers for Jones went on longer, and louder, than for any other award except Best Production. Plainly, the participants and audience at the Awards Ceremony also agreed with the adjudicator about the truly remarkable quality of her performance.
As well, there was a significant casting change: Mark Daniher, who played the small but significant role of Gavin, was not available for this re-staging and his place was taken in Ottawa by Marc Beaudette. So let's begin right there. This change brought both gains and losses. Beaudette was, I felt, much stronger and clearer in presenting the vocal side of Gavin's character, but seemed at a bit of a loss as to what to do on the physical side. Occasionally, he fell into the disconcerting mannerism of twisting back and forth on the spot. The biggest gain came in the final climactic scene when his direct accusation to Vivian -- "You left her!" -- came rocketing out loud and clear where it was formerly submerged in the general uproar.
In the central role of Lucy, Calista Jones certainly developed extra dimensions in her portrayal. Formerly, I felt she operated on two different levels: external and internal. Now, her handling of the text and of her emotions took on more shades of meaning and intensity, added more levels and dimensions to the character, and drew even more audience sympathy to her than the first time I saw the show. The unique, total immersion quality of her performance was more than remarkable in a young performer taking on a first stage role.
It's really hard to balance the role of Lucy's mother, Vivian. As written, it invites -- almost demands -- a progressive descent into over-the-top hysteria. I did feel that Catherina Warren's performance on this stage went a little too far past the delicate point of balance, and went there a little too early in the play, making it harder for her to raise the stakes in the final climactic confrontation as she absolutely must do. BUT -- when she did break, collapse, and weep as she apologized to Lucy, and then held her, she touched a level of emotional truth and depth that she didn't quite reach the last time.
Shame on me, for needing an adjudicator to point out to me how Wendylynn Levoskin as Julia (Vivian's research assistant) kept playing scenes in profile, facing directly towards the wings in order to meet Vivian head-on as one might in real life. Right there is the key issue with this role, even though Levoskin has a good grasp of the nature of the character and of the difficulties of relating to an employer with such an unusual personality.
Michael Haggerman as Morris, the therapist, remained -- as before -- more convincing in the physical side of the character than in the vocal. His most effective and believable moments, then, were those where he turned his attention from Vivian (the parent) to Lucy herself (the patient).
More so than in March, the play resonated with me as a plea -- a demand -- that each of us re-examine how we react to and treat people among us who are "different" in any way. Do we demand of them that they meet some particular norm or do we leave them free to be who they are? The ending also left me wondering what would happen in another ten years to Vivian, and especially to Lucy. Playwright Damien Atkins has left all sorts of open-ended thoughts to us, and the great strength of this production -- in spite of some major issues -- is that it has captured the dramatic intensity of the script and also succeeded in leaving those open ends for us to ponder in our own ways, and in our own good time.
_____________________________
A footnote: As usual, I avoided attending the detailed adjudications because my own thoughts on the productions were not yet firm enough to avoid being "modified" as I heard what the adjudicator had to say. But I wholeheartedly agreed with her decision to award Calista Jones with an award as "Outstanding Newcomer" of the Festival (there were several). And I definitely noted how the applause and cheers for Jones went on longer, and louder, than for any other award except Best Production. Plainly, the participants and audience at the Awards Ceremony also agreed with the adjudicator about the truly remarkable quality of her performance.
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