Reviewed by James Karas
The Neighbours of Nicolas Billon’s play are an ordinary couple, living in an ordinary neighbourhood and gossiping about the people in their neighbourhood whom they invite for regular barbecues. They are Simon (Tony Nappo) and Denise Armstrong (Ordena Stephens-Thompson), the main characters in the play along with the mysterious neighbour Au Yung Wei (Richard Tse). He sits in a chair reading for the duration of the play except for a minor exchange with Denise at the end.
Simon and Denise are discussing events of the past but they are also talking directly to the audience. They give the impression of a loving couple who have a daughter studying psychology at Stanford University on a scholarship. There is no indication of what city they are living in and we do not want or need to know.
As we listen to their chat, addressing the audience, we sense cracks developing in the loving relationship of the couple. One of their neighbours has been caught keeping a young girl, Kayla, in a cage in his basement for twelve years. He kidnapped her when she was ten years old.
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Ordena Stephens-Thompson and Tony Nappo. Photo: Jae Yang
How could that happen and how could it go on for twelve years without detection?
Simon and Denise consider themselves decent people and we have no reason to doubt them. Or should we? If they were in Germany during World War II they would have helped the Jews, according to Simon.
Billon paces the play deliberately and methodically as direct and inadvertent revelations surface. Simon helped their neighbour construct the cage that was to be used for raising big dogs. Did they see any dogs being raised? Did they not suspect or question or consider what was going on in the basement next door?
The loving relationship between Simon and Denise shows strains as the self-justification or running for moral cover increases. Is it genuine lack of sufficient evidence to take steps to uncover the truth? Is it wilful blindness? Is it moral cowardice? Is it a natural human reaction?
All these issues are raised explicitly or implicitly as Nappo and Stephens-Thompson wrestle in brilliant, nuanced performances with the text of this wonderful play. I will not disclose the ending for obvious reasons.
The set and props by Kelly Wolf in the Tarragon Theatre’s Extra Space is as simple as it can get. Two chairs and a coffee table for Simon and Dense on one side and a chair and a coffee table with a reading lamp for Wei. No tricks, no gimmicks, just the polished text of a marvellous play that keeps us riveted to its brilliant development. I was confused by the presence of Au Yeung Wei. Is he a neighbour who minds his own business and has nothing to say about the kidnapping even after it has been discovered? Did he know nothing about and now that he presumably knows what happened he has nothing to say? Is he a suspect? I think we deserve some more information about him rather than watching him read his book and imagining things about him.
Director Matt White delivers a nuanced production by keeping a perfect pace and plot development. Things sink in slowly and deliberately in a wonderful night at the theatre.
The Neighbours by Nicolas Billon in a Green Light Arts production in association with Tarragon Theatre continues until March 15, 2026, at the Tarragon Theatre Extra Space, 30 Bridgman Ave. Toronto, Ontario. www.tarragontheatre.com
James Karas is the Culture Editor of The Greek Press, Toronto
