(5 Star Rating System)

LondonRoadCanadian Stage. LONDON ROAD (4 ½ stars). Run don’t walk to see one of the most unusual shows in town that is soon to close. The serial killer of five prostitutes in Ipswich, England, had a flat on London Road. Verbatim playwright Alecky Blythe interviewed residents of the street to capture what they went through during the investigation, arrest and trial. These conversations were then set to music by composer Adam Cork. The resulting sung monologues/dialogues are astonishing in their reality. The cast is unbelievable (all kinds of Stratford/Shaw types), gilded by director Jackie Maxwell and her Shaw Festival music director Reza Jacobs. The costumes and the set are terrific. I’m deducting marks for some impenetrable accents. Nonetheless, once again, CanStage scores big with a North American premiere. (Written by Alecky Blythe and Adam Cork, directed by Jackie Maxwell, Closes Feb. 9, Bluma Appel Theatre,

Tarragon Theatre. FLESH AND OTHER FRAGMENTS OF LOVE (3 stars). Evelyne de la Chenelière is one of Quebec’s foremost playwrights, but she falters on this latest offering. The play is inspired by a novel by French writer Marie Cardinal, and dabbles in magic realism. A troubled French couple (Blair Williams and Maria del Mar) is on vacation in a remote part of Ireland, when the husband finds a dead body washed ashore on the beach. The corpse is Mary (Nicole Underhay), a medical student and single mother. Pierre and Simone begin to make up a back story for Mary influenced by their own negative experiences, while Mary herself speaks about her own life and that of Pierre and Simone. Karyn McCallum’s set and costumes are arresting, but the text itself runs out of steam. Richard Rose’s direction seems a tad on the slow side. (Written by Evelyne de la Chenelière, directed by Richard Rose, Tarragon Theatre, Jan. 7 to Feb. 16, 2014,

Soulpepper. IDIOT’S DELIGHT (2 ½ stars). This is another one of Soulpepper’s irritating productions – good intentions that fizzle out. The very successful play, written in 1936, by Robert Sherwood, actually anticipated World War 2, and which side various countries would end up on. Sherwood also adapted his play for the MGM all-star movie featuring Clark Gable and Norma Schearer, directed by Clarence Brown. Director Albert Schultz’s version doesn’t come even close. The Soulpepper production is beset by uneven acting and insipid direction. More to the point, Raquel Duffy, in the key role of Irene cannot be heard. Doesn’t anyone at Soulpepper actually do a voice check in the theatre? Some like Dan Chameroy, and particularly Evan Buliung, rise above the fray, but there is no sense of an ensemble. The play is one where a group of people end up being marooned together (in this case, an alpine resort on the northern Italian border), and collisions of ideas happen. The recipe is here for intense interaction, but this whole production is paint by numbers. And then there is Lorenzo Savoini’s set that looks like a giant tiled washroom. Soulpepper gets a plus mark for putting this rarity on the stage, but not for the production. (Written by Robert E. Sherwood, directed by Albert Schultz, Jan. 30 to Mar. 1, 2014,

Tarragon/Theatre Smash. THE UGLY ONE (4 stars). This revival from 2011 retains the original cast and creative team, all to good advantage. German playwright Marius von Mayenburg has written a fable that deals with important issues like image, identity and perception. The plot begins with an inventor who works for a large corporation. His boss will not let him present his discovery at a convention because he’s too ugly. And so begins von Mayenburg’s twists and turns which also take on the whole obsession with plastic surgery. The acting is superb, while Ashlie Corcoran directs with both passion and humour. The play is short, sweet, and packs a wallop. (Written by Marius von Mayenburg, directed by Ashlie Corcoran, Jan. 7 to Feb. 16, 2014,

Nightwood Theatre. FREE OUTGOING (3 ½ stars). The over the top melodrama of Bollywood movies carries over into this play whose premise is that a teenage girl’s sexual encounter ends up on youtube. Indian writer Anupama Chandrasekher has set the play in the conservative city of Chennai (where she is based), and the action is relentless as the fallout spirals out of control. From the neighbours who want the family kicked out of the apartment building, to the hungry media and their feeding frenzy, the consequences are extreme for everyone involved. Anusree Roy as the mother gives another of her sterling performances. (Written by Anupama Chandrasekhar, directed by Kelly Thornton, Factory Theatre, Jan. 28 to Feb. 16, 2014,

Theatre Review – Two Rooms (Théâtre Français de Toronto) and This is War (Tarragon)

It just so happens that I saw two plays in a row that use the structural device of monologues, so they make an interesting joint review.

Two Rooms by Mansel Robinson, (in a French translation by acclaimed Quebecois playwright Jean Marc Dalpé), focuses on the murder of a Moslem wife by her “white” cop (read Canadian) husband. By extension, it is also about the great racial/religious divide. Hannah Moscovitch writes political theatre. Her This Is War is a close look at the stresses placed on Canadian soldiers in Afghanistan, particularly the night before a joint operation with the Afghan army that goes sour.

Now these synopses are woefully inadequate in terms of content, but my main concern is the use of monologues. In Two Rooms, the two-hander is made up of monologues by the wife (Elkahna Talbi) and the husband (Dalpé), although they do intersect briefly. Moscovitch cuts to scenes after her four soldiers (Lisa Berry, Sergio Di Zio, Ian Lake and John Cleland) have spoken.

The two plays share another element – the audience knows the ending from the onset, but not the why and the wherefore. Thus, a good playwright has the knack of revealing facts through conversation. A weak playwright tells us everything up front and nothing is discovered, as it were. Clearly, the audience has expectations. Why did the Moslem wife have to die? What happened at the joint operation and the night before? What the playwrights are hoping for is that their revelations are of sufficient interest to keep the audience’s attention – and, more to the point, that the subsequent unfolding of events is equal to the outcome that the audience knows in advance – and in this, they both succeed. Robinson and Moscovitch are able to build the case for their endings (beginnings). In neither play is the audience left thinking that the end was less than the means.

Then there are the unseen listeners/askers of questions. The monologues in these plays are not mere self-ruminations. For example, in Two Rooms, we know right from the start that the policeman is in a police interrogation room. We also find out early on that the wife has had an affair. She is presumably at a psychiatrist’s office, using her storytelling to build up courage to confront her husband with the truth about her relationship. In This Is War, it is probably a reporter, or perhaps a member of an inquiry board who is the listener. We know that there has been a traumatic joint op experience with the Afghan army. The questions the soldiers are asked also deal with what happened the night before. In this way, the playwrights reel in the audience, playing the line a bit at a time, tickling the fish. We become those unseen questioners with, in the case of an accomplished playwright, a strong need to know.

Robinson is very clever. As the policeman details his rising paranoia that his wife is a terrorist, she grows in strength as she marches her way to the truth. Moscovitch, at first, has her soldiers lie, or withhold information, but she also uses the device of repeated scenes. Each time we see the repeat, she includes more information. Bits of monologues also repeat. By the end we are left with the clear knowledge of the terrible stress syndrome that motivated the soldiers in their actions during that fateful and disastrous joint operation. Along the way, Moscovitch also slips in details about what life is like for a soldier in these dismal desert encampments.

Dalpé and Talbi give wonderfully nuanced performances. His character has been blessed with delicious lines of dark, ironic humour, in comparison to his wife’s intense, humourless self-evaluation. It’s a good contrast. Moscovitch’s play is fraught with tension. There is the hardened, womanizing sergeant (Cleland), the idealistic young recruit (Lake), and the troubled female corporal (Berry) who is the object of their desire. (This play could be a good case for why women shouldn’t be serving in the front line!) Di Zio is the gay medic who tries to keep the esprit de corps together. They are all coiled springs and the angst is palpable.

A special commendation should be made for Cleland. He was replacing the injured Ari Cohen, but he was so into character that one forgot that he was on script. Kudos to directors Geneviève Pineault (Two Rooms) and Richard Rose (This Is War) for crafting productions that highlight both words and character. Norman Thériault’s evocative set for Two Rooms is a cage, a suitable metaphor for the play, When it comes to Dora Award time, Camellia Koo deserves a nomination for her sensational design for This Is War that literally cocoons the audience in camouflage netting.

In the final analysis, monologues have been around since Greek theatre, and certainly brought to brilliance in Shakespeare. In the capable hands of playwrights assured of their craft, they remain a tried and true literary device.

Two Rooms by Mansel Robinson, translated by Jean Marc Dalpé, (staring Elkahna Talbi and Dalpé, directed by Geneviève Pineault), Théâtre Français de Toronto, Berkeley Street Theatre Upstairs, Jan. 30 to Feb. 3, 2013

This Is War by Hannah Moscovitch, (starring Lisa Berry, John Cleland, Sergio Di Zio and Ian Lake, directed by Richard Rose), Tarragon Theatre Extra Space, Dec. 28 to Feb. 3, 2013