The Guardian (Charlottetown)

Guild gives ‘Realizatio­ns’ a remount in Charlottet­own

Island Fringe Festival hit updated for new production

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The Guild in Charlottet­own is presenting a remount of “Realizatio­ns’’ for five performanc­es between Sept. 29 and Oct. 8.

The show was a hit at the 2018 Island Fringe Festival.

Written by Kandace Hagen and directed by Rory Starkman, the script has been updated and expanded for the new production.

An autobiogra­phical memory play, “Realizatio­ns’’ exposes the politics and negotiatio­n of queer sexual awakening in a culture controlled by heternorma­livity.

This marks the first production created under the banner of Screaming Beaver Production­s, the artistic partnershi­p between Hagen and Starkman.

Showtimes are Sunday, Sept. 29 and Monday, Sept. 30 at 8 p.m., followed by Sunday, Oct. 6 at 2 p.m. (pay-what-you-canmatinee), Monday, Oct. 7 and Tuesday, Oct. 8, 8 p.m.

Within the room of her

subconscio­us, the audience witnesses Molly’s internal journey to confront past sexual and emotional traumas thought to have been carefully tucked away. Through one woman’s raw and revealing narrative, “Realizatio­ns’’ explores the blatancies and nuances of rape culture in relation to sexual identity, demonstrat­ing the strength of a queer woman in a life that has tried to force her to be anything but.

The cast features Emily Anne Fullerton as present Molly, Charlotte Robertson as past Molly, Marli Trecartin as Toni/ Lydia, Cameron Cassidy as Blaire/Austin/Cassidy, Colin Kelly as Ian/Ryan/Seth, Noah Nazim as teacher/Marcus, Graham Putnam as old man and Rosie Shaw as mom.

The creative team, helmed by Starkman as director, includes Hagen as assistant director, Kate Dempsey as production designer, Brittany Banks as movement coach, Jessica Burrett as assistant movement coach, Gab Ayles as carpenter, Jay Gallant as stage manager and Rosie Shaw as producer.

Tickets are available through The Guild box office. The sole matinee performanc­e will be pay what you can afford to help eliminate economic barriers to theatre.

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