Play retains heart amid the silliness
Fiddler Roy Johnstone, guitarist Rob Drew and accordionist Blaine Hrabi will perform at the Ceilidh at the Irish Hall on Friday, Aug. 17.
The series, which runs until Oct. 19, features Irish, Scottish and Maritime traditional music at the air-conditioned Irish Cultural Centre, 582 North River Rd., Charlottetown. Doors open at 7 p.m., and the show starts at 8 p.m. There will be a 50/50 draw, and a light lunch is served during intermission. Admission is at the door. For more information, call 902-566-3273.
During his career Johnstone has received accolades. One reviewer from Atlantic Gig Magazine said, “Roy Johnstone has the heart of a poet, the spirit of an adventurer and plays like the Devil.”
He has been active in the East Coast musical community for nearly 40 years. Guardian reviewer Doug Gallant has labelled him “one of the most accomplished Island fiddlers”. He has also received recognition for his music compositions and his studio production. He has five solo albums to his credit for which he has multiple nominations for ECMA awards. Johnston recently did a two week tour of Bretagne to study the music and dance of that region.
Hrabi has been playing and singing since he was a teen and has developed an extensive traditional and folk song repertoire. He’s an accomplished multi-instrumentalist on concertina, accordion, mandolin and guitar.
Drew has been actively involved in P.E.I.’s music community for the last 20 years specializing in all aspects of guitar from classical and Spanish to folk music. As a soloist, he has been a featured performer at the East Coast Music Awards, Contact East, the P.E.I. Guitar Festival and festivals and events throughout the Maritimes.
For more information call 902314-8840. laughs build on laughs.
With such intentional misdirections and exaggerated avoidance of conflict, the script almost dips into sitcom tropes. But terrific performances and notched up wit seem to help clear those potholes. And, unlike that popular TV form that should have ended in the 90s, there is a legitimately respectful reason given here for not directly addressing one of the issues. It’s evident throughout that director Charlotte Gowdy wanted to retain the heart amid the frenetic silliness.
I suppose goofy elements have been a part of theatre for as long as farce has, so really it may be the subject matter that seems a decade or so removed from its topical oomph. I say subjects rather than themes, if there is a difference. They function well here as launch pads for humour, and they are important, but nothing is exhaustively unpacked through major character arcs. In the end, everyone will agree that compassion is good, yes, but there is no journey. Lessons are likely just reinforced. And that’s OK. To me, this one is about solid comedy.
I should note that during particularly important reveals, after an entire show of silliness, the quiet realizations for the performers were beautifully delivered. I’m being cryptic here because I don’t want to give away all the meticulously timed revelations. So, the less you read before going in, perhaps the better. Forget everything I’ve said.
It’s a light, sharp script with three excellent comic performers. Many titters and chortles to be had.