Letters from Battle River – I went to this because it got a shoutout at the end of Annotated Autobiography of Leone McGregor, both being narratives about early women doctors in/from Alberta. Laura Raboud plays the very energetic Dr Mary Percy, who travels from England to work for the Alberta government as a doctor in the Peace country in the 1920s. I think indomitable would be the appropriate descriptor for this character, of rarely-flagging good cheer, delighting in her life and her work and the country and the people. My two favourite specifics about this performance were the brilliant use of two wheeled coatracks and a chair to be all the props and set pieces, and the way of handling the racism of the time. Early on, the character’s narrative (either a series of letters home or one very very long letter home, it’s not entirely clear) is steeped in throwaway racist assumptions about Eastern European immigrants, about First Nations and Metis inhabitants of the land, and occasionally about “Yankees”. I found it jarring every time this likeable character used racial slurs, although I could see that she was fond of her “Russian” and “Frenchman” and “‘breed” patients and neighbours. When she began to relate a visit to the “Indian boarding school”, I worried about whether she’d be equally cavalier about the residential school … but fortunately the playwrights had made a different choice (I do not know how much of the text came from the historical artifact letters). Instead she said something like, it was beautifully light and airy, but of course they hated it, how could anyone like living in a dormitory when they could be curled up with family in a tent in the forest, and then she went on to muse about whether the British Empire was actually wrong to impose their way of life on indigenous peoples. I did not feel as if the character integrity had been damaged by this viewpoint, and I was comforted that I could still find her sympathetic.
My Boyfriend’s Girlfriend – A new musical by Jamie Price (aka musician Must Be Tuesday) plays in the Telus Building. It is impressive for a new work by young artists, a fully staged three-actor show with a storyline, songs with clever lyrics and varying melody styles, and musical accompaniment by Price on keyboard and guitar. The narrative is probably valuable both as a demonstration of queer, polyamorous, and transgender lives for people who are not familiar with these variables, and as positive representation for people who don’t often see their lives on stage. Just the simple stage business of a character turning away from the audience to take off a bra and put on a tank-top style binder was effective as storytelling and as education, without being enough nudity to distract. It is hard to plot a story with those goals and show realistic problems and still make the problems solvable, but Price, director Alicia Maedel, and performers Mandi Molloy, Emanuelle Dubbeldam, and Matthew Oliver van Diepen have made a good start. I could easily imagine this show on a bigger stage with fuller orchestration, a little less didactic and a little funnier or more dramatic, being the next Rent or Avenue Q. Or it could just be what it is, and a lot of people will enjoy it, see themselves or their friends or family, or learn something.
A Woman of a Certain Age – This was another show full of satisfying representation, with writer/performer Wendy Froberg playing six characters, all women in their late 40s or older, with interconnected lives. Important common thread was provided by the interactions the other women all had with esthetician Magda, each of them having different reasons for wanting to look younger or look pretty again. Magda often tried to talk to them about other ways of resolving their problems, suggesting that youth and beauty were not a panacea, but she loses her salon job, and it’s not clear if they don’t like her attitude or her age. The performance follows all the rules of a good multiple-character solo show, (if you don’t know what they are, this is demonstrated in The Big Fat Surprise) and I enjoyed it.
Gossamer Obsessions: Wilt – is a set of “parable” sketches, funny and sort of delightfully weird, in a magical or not quite real way, by masters of improv Amy Shostak and Paul Blinov. Their costumes are reminiscent of fairy-tales, and their stories hover over the abyss between ordinary life and the just plain strange. The hour flew by.