Tag Archives: elena porter

To separate, to cling, to Cleave

One character in Elena Belyea’s new play Cleave explains the concept of words that are autoantonyms – words that have two near-opposite meanings, like screen, fast, or bound.  This gives the viewer a hint toward unpacking the play’s title, as it may refer to characters clinging together or being split apart, drawing towards new choices in their lives or detaching from unwanted ones.

Like many of my favourite stories on stage, on screen, or in library books, the narrative of Cleave shows the separate but intersecting objectives of several characters through a cusp time in their lives.  Four of the characters are part of a family, parents (Dave Horak and Elena Porter) who turn out to have their own secret unhappy histories and teenage children (Emma Houghton and Luc Tellier).  I was particularly delighted by the subtlety of Emma Houghton’s character journey, as I had misjudged her on first appearance as a sulky shallow cheerleader wheedling money out of her dad for new workout clothes in which to make an impression.

The other two characters are a new kid at school, 17 year old Aaron who is intersex and trans (Jordan Fowlie), and his therapist.  As he explains to his new therapist (Natasha Napoleao) in the first scene, he’s moved away from his parents in order to avoid the stigma of transition in a small town and in order to get the therapist’s recommendation he needs before gender-affirming surgery.  The therapy scenes provide useful exposition of the background concepts of intersex and trans lives.  Sometimes Aaron is explaining things to his therapist and sometimes she is providing vocabulary and information to the audience while connecting with Aaron.   They also give important insight into Aaron’s thoughtful sarcastic character by providing a context in which he is relatively open, compared to his careful cautious demeanour at school, with his new friend’s family, and in another situation.

I loved the scenes with the two outsider boys sitting on the school steps not quite looking at each other and not rushing into friendship.  And the wordless gestures of trust on both sides of that relationship in the final scene moved me immensely.  I can imagine happy endings in the future for at least some of the characters, but the play ends appropriately with the loose ends not all tied up.

I also want to write about another scene that horrified me and hypnotized me in ways that also thrilled me as a fan of compelling stories.  But I don’t want to spoil it for anyone else.  So I will put a brief comment about it at the end of this post.

Cleave is playing at the Backstage Theatre until Saturday April 7th.  There is an allowance of Pay-What-You-Can tickets available at the door for every performance.

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The Photo

The Photo is about an hour long.  I’m glad that it wasn’t longer because I was so worried about the characters that I could hardly breathe.

Elena Porter and Michael Peng stagger separately onto the stage, not quite aware of each other.  At first they both seem shocked by something that’s just happened, but their responses are different enough that the nature of the awful thing wasn’t immediately clear to me.  But the basic sad event is clarified quickly, so that one character seems to be grieving in a conventionally comprehensible way and the other is alarmingly detached from reality.  I did keep wondering in the back of my mind whether I was wrong, or whether more horrible details would come out later, but I was relieved to have my guess confirmed, and could then watch the couple cope and connect.

I don’t think I’ve seen Michael Peng and Elena Porter on stage together before, but I’ve seen both of them in challenging roles in dark or painful stories – Peng in An Accident and in The Kite Runner, Porter in The Three Sisters and in The Clean House.  And they were both good in The Photo.   Peng’s thin-lipped quiet background anguish and Porter’s sparkling surface cheer over pain suited the roles well.  The script provided enough resolution that I could breathe again, and I felt as if the two characters were beginning to understand each other’s needs and would be able to take care of themselves and each other.

I do not have personal experience of the kind of loss experienced by the characters.  I don’t think I’d recommend this play to someone who has, without offering to warn him or her, but on the other hand without knowing what to expect I found the initial scene disturbingly effective, and I don’t want to spoil that for anyone else.

The Photo is playing at C103 until May 23rd.  It’s a Theatre of the New Heart production, written by Dana Rayment and directed by Michelle Kennedy.  Advance tickets are, of course, at Tix on the Square.

The Clean House

Sarah Ruhl’s The Clean House played at the Varscona the same week in March as Dirt was playing at TACOS Space across Whyte Ave.  I wasn’t the only reviewer to notice this coincidence, but the other ones all beat me to posting about it.

The Clean House covered some serious topics but with a very light touch.  The cast was all female except for Troy O’Donnell, who played a couple of minor characters.  Elena Porter was enchanting as a housecleaner from Brazil who wants to be a comedian.  Liana Shannon and Coralie Cairns play sisters Lane and Virginia, who have different priorities but who are both fussy and not very happy, making justifications for their unhappy marriages.  Shannon Boyle played a couple of characters who seemed minor at first, but one of them later became very important in the story.  Porter and Boyle both spoke English with accents from South American countries, and also spoke Portuguese sometimes.  I wished my Portuguese-speaking friend could have been there.

The set was mostly white, furniture, window frames, and props, with most of the characters dressed in crisp tidy neutral tones.  The sisters, a surgeon and a full-time homemaker, both had constrained body language and I don’t think they ever touched each other. “Think of her as a patient, not a person” Virginia counsels Lane, who is uncomfortable giving orders to her cleaner.  Elena Porter’s character Mathilde wore comfortable black clothing and seemed much more comfortable with her emotions and her environment.   So by comparison, her emotions seemed much larger than appropriate in the sisters’ world, grieving for her dead parents and celebrating her joyful childhood with parents who were always making each other laugh.  We saw her parents dance and laugh and touch affectionately in memory sequences, as represented by O’Donnell and Boyle.  And Mathilde told the two women of her quest to remember the “perfect joke” that her father had created and told to her mother, leading to her mother’s death from laughing.

Gradually, the controlled lives get out of control, as we find out that Lane’s husband Charles (O’Donnell) is leaving her for Ana, a South American geologist (Boyle), and then that Ana is dying.  Charles’s response to this news is mostly to disappear, ostensibly in search of an obscure cure, while the other women care for Ana.  The ending had me in tears but not completely sad ones.  It was lovely.