|Lucia Cervoni as Julie. Photo by Cylla von Tiedemann|
|Sharleen Joynt (Christine, L) Lucia Cervoni (Julie, R)|
Photo by Cylla von Tiedemann
The work, which uses elements of naturalism, was influenced by elements of social Darwinism, though it has been interpreted in various ways onstage, through the lens of the American South (at CanStage in 2009) as well as the indigenous experience. The play lends itself well to explorations of power, both overt and subtle, and it's here that composer Boesmans and director Jocelyn find their most compelling expression onstage. The scenes between Julie and Jean, in Christine's shabby kitchen, are shot through with a heat that isn't coming off any stovetop; the two alternate between seducing and slapping, insinuating and insulting, coercing and commanding. Performers Frazer and Cervoni play off these contrasts nicely, seamlessly blending singing and acting into one satisfying whole. Boesmans' jagged, icy score offers a beautiful contrast to the sexual heat, one that heightens the drama without sacrificing momentum, and utilizing a rhythmic interplay that propels the action forwards. As Music Director Leslie Dala notes in the program notes, Boesmans "creates a remarkable amount of contrast with only 18 instruments." These instruments blend perfectly with the sparse, almost Baroque-like score (which was complemented by Alain Lagarde's spare set and Michael Walton's plaintive lighting), and more than once, the conversational nature of Boesmans' work brought to mind Monteverdi's Lamento d'Arianna, recently performed at the far larger Four Seasons Centre as part of the Canadian Opera Company's Pyramus and Thisbe production.
|Sharleen Joynt (Christine) & Clarence Frazer (Jean). Photo by Cylla von Tiedemann|
This sense of intimacy was aided in no small way by the venue. With its cozy design and seating for roughly 800 or so, Toronto's Bluma Appel Theatre offered an immersive and immediate experience of Boesmans' work, making the evening's final image (a hanging staged in silhouette) all the more disturbing. Certainly, some unfamiliar with the Strindberg weren't expecting it, especially in light of the dark laughs the piece had enjoyed just moments before. Others, possibly, were so taken with Cervoni's passionate portrayal of the character, in all her dazzling contrasts — sexual power, timid girlishness, haughty snobbery, begging desperation, loudmouth demands, soft admissions — that it seemed a pity to lose her.
|Lucia Cervoni (Julie) & Clarence Frazer (Jean). Photo by Cylla von Tiedemann|