Danger lurks in haunting Misconduct

Marine Life ARTS

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FOREBODING AND unease— these are words to describe the atmosphere as you step into the black-box studio, where all eyes are trained upon the lone Deke, played by Ian Butcher, lying on a bonewhite bed in silent contemplation. The in-the-round setup adds to the ominous sensation in the room as you take furtive glances at the other audience members, all sitting in quiet anticipation. What follows is 100 minutes of hauntingly beautiful theatre, carefully crafted by director Kayvon Khoshkam to provide a poignant exploration of sexual assault that is sure to keep your eyes glued to the stage until d THE FIRST NOTE I made while the very last second. watching Marine Life was “This guy

Speakeasy Theatre’s Gross Misconduct doesn’t know how to fish.” In the follows the story of the opening scene, Sebastien Archibald as abrasive and brooding Deke, who, Rupert casts into an imaginary river after spending many years alone in like he’s playing badminton. This is in his cell, is joined by a new prisoner character, though. This is Rupert’s first named Corey (Mike Gill). As Corey attempt at fishing. begs his cellmate to protect him Which explains why he accidentally from the ever-present danger of hooks Sylvia (Christine Quintana). Sylvia prison rape, Deke is forced to confront is not a fish, but she kind of wishes demons from his past when a she were. She’s a strident environmental mysterious diary written by someone activist, revolted by fishing, plastic, named Abigail is delivered to and nearly everything in between. d “WE HAVE very little time, so do it him. The audience, in turn, must Rupert suggests the aquarium as a slowly,” says Oskar, the film director at examine not only the morally grey location for their first date, but Sylvia the centre of GOLDRAUSCH. This areas each character inhabits, but compares that to “going on a date to oft-repeated command, a risible also the ways in which we all contribute Rikers to look at prisoners”. to the rape culture of today. And yet this is the “meet cute”, so

Butcher embodies Deke’s tormented they fall for each other. Their relationship soul perfectly, and his is soon complicated by Sylvia’s standoffish demeanour contrasts mentally ill brother, John (Alen well with Gill’s spoiled yet charming Dominguez). Sylvia tries to keep the Corey. Their hockey banter self-harming John alive while negotiating is endearing and even comical at her tempestuous romance with times, almost making us forget Rupert, a corporate lawyer. The funny just how flawed and broken each rom-com vibe turns decidedly apocalyptic of them is—almost. Scott Bellis’s as their city experiences torrential Gareth is the prison guard you rain and flooding. love to hate, and his creepiness That summary might sound simple factor increases tenfold when he enough, but there’s a lot to take in, in gently caresses the helpless Corey’s Marine Life. The production starts on a back and chest while making an high emotional note—sylvia hollering indecent proposal. Sereana Malani in pain—and mostly stays there for lends her captivating voice to 90 minutes. Along the way, the script the role of Abigail, who recounts oscillates between the couple’s easy the story of her first crush. banter and darker monologues Abigail’s anecdotes are welcome about marine debris and our aquatic interludes in an otherwise maledriven ancestry. Most scenes are accompanied story. by projections by

Markian Tarasiuk’s minimalist Jordan Watkins and Ryan Mcdonald set design is compact, and works on a huge screen upstage. And in tandem with the in-the-round did I mention that John sometimes seating that reinforces the idea that plays guitar and sings mariachi tunes? these characters are under scrutiny. Both Sylvia and Rupert end up being Lighting designer Jillian White’s caricatures. She is absurdly uncompromising use of strobe adds to the harsh and in her beliefs, while he’s unforgiving tone of the play, and constantly finding new ways to express her bold use of flashlights in the his fragile masculinity. Meanwhile, dark is a stroke of genius. However, John is manipulative, demanding all patchy lighting takes away from of Sylvia’s attention. It’s hard to know Abigail’s otherwise flawless delivery who to sympathize with. when she steps on and off the You’re never bored, but director audience bleachers. Diane Brown didn’t quite tie all these

It is worth mentioning this show elements together. Sometimes the also debuts the experimental implementation photorealistic projections worked, of a new seating-card other times they were a distraction. system, reminiscent of the process Several scenes occur outdoors in the used by airlines for boarding. rain, but John Webber’s lighting design While a valiant effort, the process didn’t do enough to establish a feeling seems a tad irrelevant, given that of torrential precipitation. Meanwhile, the intimate seating plan does not Drew Facey’s set was a series of low require such measures to be taken. platforms atop bunched plastic sheeting. However, with no intermission, the “As the world is overflowing with process is thankfully not repeated, plastic, so too is the stage” seemed too and takes nothing away from the on the nose. stellar work inside the venue. I don’t typically remark on actors’

This Speakeasy Theatre production footwear, but it’s reflective of Jessica is undoubtedly a must-watch Oostergo’s very particular costume this season. If you seek a night of designs. In his first scene, John wears introspection and thought-provoking hospital socks, foreshadowing his illness. theatre, look no further than Meanwhile, Sylvia wears blood-red Gross Misconduct. boots that look like leather, hinting at

a subsequent crisis of faith. And Rupert

Gross Photo by David Cooper