Eden, by Hope McIntyre, presented by Sarasvàti Productions at the Asper Centre for Theatre and Film, April 27, 2012
Reviewed by Stephanie Adamov
Hope McIntyre’s new play offers audiences a world that is far from paradise. Propelling audiences fifty years into the future we learn that a major bombing occurred, leaving many dead, and many more devastated., Hope McIntyre’s script projects a world that the government fuels with fear through propaganda. Privacy is invaded for the apparent security of the nation. Ethnic minorities are scapegoated as perpetrators and terrorists.
Even without the footage of a pseudo CNN channel showing a middle aged, male figure proposing an end to terror, an undeniable air of a famous mid September morning is present.
Director Sharon Bajer combines theatrical and cinematic techniques to tell a story about uncovering the truth from a legacy of lies. With video designer Jordan Popwich, the story is supported through the integration of video footage and scenic transitions adding much to the production value of the piece. Footage of past totalitarian governments together with the eerie string-instrument orchestrations formulated by Chris Coyne plunge the audience immediately into the world of McIntyre’s play.
Andrea del Campo and Kevin P. Gabel; photo by Janet Shum
A unique feature of the play is the integration of live feed provided by Popwich and props coordinator Ali Fulmyk. Characters were able to use a real video camera on stage and have it instantly displayed on the screen. Adding dimension and diversity, it most certainly had a visceral impact.
Though effective the simulated CNN coverage was fairly didactic. Reminiscent of the Bush II era of fear and preemptive strategies, it overly emphasized the “if you’re not with us you are against us” mentality.
Steven Ratzlaff is the melancholic General who follows the orders of the Big Brother-ish character Ophidian, played by Kevin Anderson. The President Bush-like figure delivers messages of national pride and propaganda.
The myriad of Biblical references begins as the characters of Adam and Evelyn are both unsatisfied with what has been delivered to them as ‘true.’ Parental distrust plagues the two teenagers. Adam, played by the versatile Kevin P. Gabel, is the third generation in a family with a military background. Disgusted with the judicial system, he flees and meets outspoken Evelyn, portrayed by Andrea del Campo, and her mother Delilah, who is flawed but has the best of intentions as played by Tracy Penner. The women live amongst the outcasts in the “Undesirable Sector,” living in constant fear of being captured.
Essa is the corner stone of much of the story. A wealth of knowledge, characters seek her for information, but generations of mistrust lead to hesitation and hostility to authority figures. Tenderly played by Marsha Knight, she exudes strength even when Tom Soares, who plays the villainous George, brutally interrogates her.
Kim Griffin’s set predominately featured the three large projection screens that displayed images, footage and live feed. In addition, simple and well utilized black boxes, stairs and risers constructed by multifaceted Aaron Frost added to diversity in movement and levels on stage.
Subtle alterations were made to contemporary clothing to create the fashion of the future. Simple adjustments by costume Designer Kelsey Noren such as accented areas of a suit jacket allowed for believability and were quite effective.
Amnesty International’s significant presence could be found immediately outside the theatre. Sarasvàti’s mandate of advocacy and evoking social change through the use of theatrical expression was achieved by their presence.
Metaphors and the use of allegorical references in the text left very little to audience inference. A more subtle approach might have allowed for more exploration and dialogue for audience members during the show. However, the technology integrated throughout the piece heightened my personal experience. The incorporation of both theatre and film was complementary in the contrast of media.
Eden, by Hope McIntyre, presented by Sarasvàti Productions at the Asper Centre for Theatre and Film, 400 Colony Street, Winnipeg. Showtimes continuing from Sunday, April 29 2pm (pay what you can matinee) through May 13.
Dystopia with Hand-Held Video Projection
Columns
Eden, by Hope McIntyre, presented by Sarasvàti Productions at the Asper Centre for Theatre and Film, April 27, 2012
Reviewed by Stephanie Adamov
Hope McIntyre’s new play offers audiences a world that is far from paradise. Propelling audiences fifty years into the future we learn that a major bombing occurred, leaving many dead, and many more devastated., Hope McIntyre’s script projects a world that the government fuels with fear through propaganda. Privacy is invaded for the apparent security of the nation. Ethnic minorities are scapegoated as perpetrators and terrorists.
Even without the footage of a pseudo CNN channel showing a middle aged, male figure proposing an end to terror, an undeniable air of a famous mid September morning is present.
Director Sharon Bajer combines theatrical and cinematic techniques to tell a story about uncovering the truth from a legacy of lies. With video designer Jordan Popwich, the story is supported through the integration of video footage and scenic transitions adding much to the production value of the piece. Footage of past totalitarian governments together with the eerie string-instrument orchestrations formulated by Chris Coyne plunge the audience immediately into the world of McIntyre’s play.
Andrea del Campo and Kevin P. Gabel; photo by Janet Shum
A unique feature of the play is the integration of live feed provided by Popwich and props coordinator Ali Fulmyk. Characters were able to use a real video camera on stage and have it instantly displayed on the screen. Adding dimension and diversity, it most certainly had a visceral impact.
Though effective the simulated CNN coverage was fairly didactic. Reminiscent of the Bush II era of fear and preemptive strategies, it overly emphasized the “if you’re not with us you are against us” mentality.
Steven Ratzlaff is the melancholic General who follows the orders of the Big Brother-ish character Ophidian, played by Kevin Anderson. The President Bush-like figure delivers messages of national pride and propaganda.
The myriad of Biblical references begins as the characters of Adam and Evelyn are both unsatisfied with what has been delivered to them as ‘true.’ Parental distrust plagues the two teenagers. Adam, played by the versatile Kevin P. Gabel, is the third generation in a family with a military background. Disgusted with the judicial system, he flees and meets outspoken Evelyn, portrayed by Andrea del Campo, and her mother Delilah, who is flawed but has the best of intentions as played by Tracy Penner. The women live amongst the outcasts in the “Undesirable Sector,” living in constant fear of being captured.
Essa is the corner stone of much of the story. A wealth of knowledge, characters seek her for information, but generations of mistrust lead to hesitation and hostility to authority figures. Tenderly played by Marsha Knight, she exudes strength even when Tom Soares, who plays the villainous George, brutally interrogates her.
Kim Griffin’s set predominately featured the three large projection screens that displayed images, footage and live feed. In addition, simple and well utilized black boxes, stairs and risers constructed by multifaceted Aaron Frost added to diversity in movement and levels on stage.
Subtle alterations were made to contemporary clothing to create the fashion of the future. Simple adjustments by costume Designer Kelsey Noren such as accented areas of a suit jacket allowed for believability and were quite effective.
Amnesty International’s significant presence could be found immediately outside the theatre. Sarasvàti’s mandate of advocacy and evoking social change through the use of theatrical expression was achieved by their presence.
Metaphors and the use of allegorical references in the text left very little to audience inference. A more subtle approach might have allowed for more exploration and dialogue for audience members during the show. However, the technology integrated throughout the piece heightened my personal experience. The incorporation of both theatre and film was complementary in the contrast of media.
Eden, by Hope McIntyre, presented by Sarasvàti Productions at the Asper Centre for Theatre and Film, 400 Colony Street, Winnipeg. Showtimes continuing from Sunday, April 29 2pm (pay what you can matinee) through May 13.