A rural kitchen with lavender walls, wallpapered below the chair railing on one side and paneled with different cuts of wood on the other. An open doorway reveals a pantry, shelves full of mason jars of colourful preserves. Up centre, a tree sprouts, covered in all manner of porcelain knick-knacks – a tea pot, glass animals – instead of leaves. Through the window, a portion of it cut away, vines enter from the outside world, and we get the stage right view of white birches, giant bull rushes and the beginning of a glittering green swamp.
Marysia Bucholc’s set is the audience’s introduction to the world of the Alumnae Theatre Company’s production of James Reaney’s The Killdeer, directed by Barbara Larose, with assistant director Ellen Green, part of Alumnae’s “Countdown to 100” retrospective programming as it approaches its 100th anniversary (it’s 95 now). Reaney’s play, which came about due to the encouragement of late director and Alumnae member Pamela Terry, had its premiere at Alumnae in 1960 (back when it was located on Bedford Road) and was directed by Terry – and it launched Reaney’s career as a playwright.
In this seemingly quaint country town – part rural gothic, part fairy tale place – with a mysterious and violent history, this kitchen in the Gardner home is a whimsical oasis of innocence. Through prose that is at times vernacular, at others poetic, storytelling and gossip, The Killdeer takes us on an intense, dramatic – and at times magical – journey into the lives and secrets of its characters.
Like me, you may be asking, what the heck is a “killdeer”? The press release for the production provides a helpful definition: a killdeer is “a small bird, known for feigning a broken wing to draw predators away from its nest, which is built on open ground, and for calling out its own name.” Sound designer Rick Jones incorporates the call of the killdeer into the production, along with musical touches of whimsy, mystery and drama, inspired by the original production’s sound design by John Beckwith.
The Killdeer features a very strong cast. Tricia Brioux’s Madam Fay is a deliciously arch, darkly comic and dangerously crazy lady with issues, while Tricia’s real-life nephew Matt Brioux (playing Madam Fay’s son) rounds out Eli’s seemingly simple-minded, childlike behaviour with good sense and a good heart. Rob Candy does evil up good as Clifford, a notorious piece of work whose menacing character rivals even that of Madam Fay. As Mrs. Gardner, Anne Shepherd combines a sense of rural tradition and individual quirkiness as Harry’s bric-a-brack collecting, overprotective mother, while Marie Carrière Gleason is great fun as Mrs. Gardner’s gossipy neighbour Mrs. Budge. Paul Hardy offers a nice transition as Harry goes from wide-eyed innocent teenager to a good man searching to find his way and save the true love of his life; and Blythe Haynes is lovely as Rebecca, a lost innocent like Harry, protective of those she loves even to her own detriment. Naomi Vondell adds some nice layers of mystery to the put upon Jailer’s wife Mrs. Soper, left to manage the cells while her husband is away. In their multiple roles, Michael Vitorovich is delightfully evil as the Hangman and comically officious as the Judge; Joanne Sarazen is especially entertaining as the mercurial Crown attorney and Tina McCulloch – doing quadruple duty playing two characters, as well as marketing/publicity and co-producer – gives a nice comic turn as courthouse cleaning lady Mrs. Delta. Peter Higginson’s enigmatic physician turned hermit Dr. Ballad is both gently wise and sharply funny.
Razie Brownstone’s costumes, and prop team’s Tess Hendaoui and Deborah Roed detailed touches, make for a lovely combination of realism and once upon a time. And Ed Rosing’s lighting design ranges from the clever (the box-like light on the floor for the witness stand in the courtroom) and magical (the lighting on the swamp and the twinkley lights on the walls of the set that burst out into the back of the house). All held together by intrepid SM/lighting op Margot “Mom” Devlin and her ASM team. Shouts also to co-producer Lynne Patterson and opening night catering mistress Sandy Schneider – and to Suzanne Courtney at Ticking Time Bomb Productions for the graphic design work on the poster (and for the entire season).
This was one crazy trip. And The Killdeer leaves the audience talking.
The Killdeer runs on the Alumnae Theatre main stage until April 27, with a talkback following the April 21 matinée. In the meantime, check out this Hye’s Musings blog interview with director Barbara Larose.
