FLEX - REVIEW OF 2025 PLAY BY CANDRICE JONES AT CROW’S THEATRE

Reviewed by James Karas

What comes to your mind when you hear the word raptor? If you think of a bird of prey that lived around 70 million years ago, you are not likely to enjoy Flex, Candrice Jones’ play now showing at Crow’s Theatre. If your mind leaps to the Raptors, Toronto’s basketball team, and you have seen a few games, you are in luck. Flex is about a girls’ basketball team in Arkansas and specifically in 1998 when the high school seniors of a small town are competing against other teams (and each other) for a state championship.

They have won the regional championship and are preparing for the big one, the state competition where the scouts are and a chance for the players to be given a scholarship. It is a ticket out of the dusty hellhole in Arkansas that all of them want to get out of. It is the driving force that impels them to work as a team to win but personal ambitions intervene and those ambitions supersede the all-important team effort, the esprit de corps  that will compel them to victory.

The first part of the play is set in half a basketball court where the girls are practicing and talking. It is a fast-paced scene where they talk fast as they practice shooting. Their individual characters start emerging. They have attended the same school and known each other for most of their lives. Starra (Shauna Thompson) considers herself the leader and she is considered as such by the rest of the girls. Cherise (Trinity Lloyd) is deeply religious and wants the other girls to be baptized. Sidney (Jasmine Case) is the new girl from California. The coach has made it clear that she does not want pregnant players and April (Jewell Bowry) is pregnant. What is to be done about her?

The religious Cherise is also gay and kisses Donna (Asha James) on the lips. She has issues with her feelings and is baptized more than once to cleanse herself of her sin.

Trinity Lloyd, Asha James, Shauna Thompson, Jasmine Case 

and Jewell Bowry. Photo: Roya Del Sol

Starra plays dirty and her character develops around her ambition and ruthlessness. She even tried to get Sidney (Jasmine Case) pregnant. She found condoms in Sidney’s locker and pricked holes in them! Cherise tells Starra that she knows about the holes in the condoms. Sidney is the golden girl from California and Starra is from the dirt courts of Arkansas.

Flex is a beautifully written play that dramatizes the plight of young girls in the American south.  The only way for these young people to get out of that rathole is by excelling in basketball and getting a scholarship. There is jealousy, treachery and decency. The actors who make up the team and Coach Francine (a superb Sophia Walker) make not only an outstanding basketball team but also a magnificent acting ensemble. Give the actors a standing ovation. The Creative Team lists a Basketball Captain (Jasmine Case), and a Basketball Coach (Alex Johnson). Between them they produced a highly credible team of basketball players.

Dialect Coach Peter N. Bailey trained the actors to speak in an accent, which may represent the patois of rural Arkansas, but at the speed at which they spoke combined with their abuse of the rules of grammar and nuanced pronunciation, I admit that I could not always follow what they were saying.

The set by Ken Mackenzie shows an impressive half of a basketball court and the scenes that do not take place there are done with a minimal number of props. The emphasis on the court is appropriate and impressive.

Director Mumbi Tindyebwa Out seems to have her work cut out for her. With an extensive Creative Team and a tough play, she was able to keep her eye on the ball (pardon the metaphor) and bring forth a stunning production. The only prescription is for you to go and see it and applaud loudly.

And the Raptors can use the discipline and esprit de corps of the girls from Arkansas without worrying about one of them getting pregnant. And seeing a play about basketball and much, much more may prove far more uplifting and civilized than the game itself.  

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Flex  by Candrice Jones, in a Crow’s Theatre and Obsidian Theatre co-production, will run until May 18, 2025, at the Guloien Theatre, Crow’s Theatre, 345 Carlaw Avenue, Toronto, Ontario.  http://crowstheatre.com/

James  Karas is the Senior Editor, Culture of The Greek Press

BENEVOLENCE – REVIEW OF 2025 KEVIN MATTHEW WONG PLAY AT TARRAGON THEATRE

Reviewed by James Karas 

Benevolence is an eighty-minute  one-man show by Kevin Matthew Wong who is listed as the creator, writer, video and projection designer. The play is about the Hakka, a Chinese subgroup that is dispersed around the world and may have about 35,000 people in Canada. 

Wong in a hyper-kinetic and exuberant performance tells a personal story about his experience as a Canadian of Hakka origin and gives us some information about the group. The play is built around the World Conference of Hakka that is to take place in Toronto and it is to be attended by some 3000 people. Wong, a man of the theatre, is asked to write a show for the elderly to be performed during the conference.

He knows he is Hakka because his grandmother told him so, but he does not know much more and he speaks with other people including his one-hundred-year-old grandmother trying to come up with ideas and substance for the show. We see a touching video of his interview with his grandmother in Vancouver as well as other videos of his visit to Hakka centers in British Columbia.

Kevin Matthew Wong in Benevolence. Photo: Jae Yang

In the video of the interview with his grandmother we learn that she remembers very little about her life in China and in the end is coached by her daughters to give some sort of replies that are not satisfactory but they are funny. But she has lived through 18 presidents and 14 prime ministers and we find her sympathetic and humorous without being too informative.

Wong is a talented mimic and he imitates the speech of the people that he encounters to humorous effect. Sonia, the woman who asks him to write a play is a  Chinese-Hakka-Jamaican-Canadian and Wong imitates her accent to good effect. 

In Victoria and Vancouver there are pockets of Hakka immigrants and Wong shows us videos of the places that he sees and describes some of the people that he meets but he is the only one who speaks to us and imitates what he hears.

When Wong enters the playing area to begin the show, he bangs what look like pot lids loudly (Chinese instrument?) and invites three members of the audience to join him doing the same thing and dancing around. He is good at involving the audience and garners excellent reactions and laughter.

Wong tells the hilarious story about a Hakka mathematician asked to say something with “three”. (I have forgotten the exact question.) He draws a palm tree and  answers in his accented English: “Palm tree.” He is given the number 33. He draws two palm trees and replies that he has palm tree, palm tree.

Trying to stump him, he is given the number 100. How do you get that? He draws three partial trees with “dirt” underneath and replies that he has a dirty tree and a turd three tines which of course makes 100. I butchered the joke but you should go and see the show and get its hilarious impact.

Benevolence gives us some fascinating information about the Hakkas who apparently migrated to America in 200 BCE and have settled in many parts of the world. This is a fun way of getting some history gratis. Go see it.

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Benevolence by Kevin Matthew Wong in a premiere production by Tarragon Theatre in association with Why Not Theatre and Broadleaf Creative will run until May 4, 2025, at the Tarragon Theatre Extraspace, 30 Bridgman Ave. Toronto, Ontario.  www.tarragontheatre.com

James Karas is the Senior Editor, Culture of The Greek Press

COCK – REVIEW OF 2025 TALK IS FREE THEATRE PRODUCTION

Reviewed by James Karas 

Cock is the brash and highly suggestive title of Mike Bartlett’s play now playing at Artists Play Studio in the  Carlaw Industrial Centre, Toronto. It is a fine, emotionally charged play that does not need the charged sexual reference of its title but so be it.

Cock is essentially about the fight for John’s soul, body and love. He is a diffident, indecisive gay man who is living with M in a homoerotic relationship for seven years. John (Jakob Ehman) is the only named character in the play. He is living with M (Mickael Torontow) and falls in love with W (Tess Benger), a woman. F (Kevin Bundy) is M’s father.

The play opens on a high emotional pitch as the sensitive John tells M that their relationship is not working out and they should separate. M is in love (with?) John and he tries to patch things up but, the real issue arises. John who has never been attracted to women had met the attractive W and had enjoyable sex with her. Sex with a woman and inherent indecisiveness can be a recipe for the breakup of a long relationship.

There are variations in the emotional levels of the discussions among the four people, but the high passions felt by them are intense almost throughout. The central issue is always John, what he wants, what he is and what can persuade or force him to decide who or what he is. The father, M and W try to get to John’s mind or soul or his identity to convince him to go past his indecision but no one can reach him.

The cast of Cock. Photo: Dahlia Katz

Tess Benger has physical attraction and sexual allure to sway him but she is unsuccessful. Berger gives an intense performance in the role. M, a muscular man who does not understand what John is doing and cannot find satisfactory arguments to rekindle John’s love for him, gives a splendid performance.

Bundy as M’s father is a gruff, no-nonsense man who tries to mediate or perhaps push the situation forward in the face of John’s indecisiveness. Superb performance. All eyes are on on Ehman who struggles with his own crisis while buffeted by arguments from his lovers and the Father. A marvelous performance as a pathetic young man that is forced to see himself, his souls and come to terms with himself.

The play is performed in an empty space and acts like undressing and having dinner are mimed and the rest is left to the imagination.

The play is directed by Dylan Trowbridge who keeps an even keel as the arguments and high emotions come through. He keeps the arguments coming and never lets us take sides.  A tough job well done.

The play is performed in  the Artists Play Studio of the  Carlaw Industrial Centre at 388 Carlaw Avenue, Toronto. You follow a red line for some distance and see a couple of dozen people in a hall. Where is the theatre? It’s a surprise, we are told. It is a room of about 15 by 30 feet (I am guessing) with about two dozen folding chairs  in the perimeter. That is all and the seats and audience watching the performance. There are no other props  except for several lamps that the actors turn on and off by stepping on switches.

Cock was first produced in 2009 at the Royal Court Theatre in London and has been revived many times in England and North America. The surprise is that no other company in Ontario had got wind of it until Talk Is Free Theatre produced it for us.
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Cock by Mike Bartlett continues until May 2, 2025, at Artists Play Studio, Carlaw Industrial Centre, 388 Carlaw Avenue, Toronto. https://www.tift.ca/

James Karas is the Senior Edior Culture of The Greek Press

MAHABHARATA - REVIEW OF 2025 PRODUCTION OF EPIC PLAY AT BLUMA APPEL THEATRE

Reviewed by James Karas 

Mahabharata is theatre on a grand scale. It is played in two parts titled Mahabharata: Karma. The life We Inherit for Part 1 and Mahabharata: Dharma. The Life We Choose for Part 2 for a total of about five hours. The play is based on an ancient Sanskrit epic that may go back as many as 4000 years.

The full surviving version seems to have been composed or put together based on the oral traditions between 400 BCE and 400 CE Its first English translation was in the 19^th century and was published in 5000 pages. A Critical Edition was produced in the 20^th century and ran to 13,000 pages in 19 volumes. 

In the 21^st century, Carol Satyamurty composed  a “Modern Retelling” of the epic in 843 pages of blank verse. It is this version that Ravi Jain and Miriam Fernandes used to adapt and write the script of the production which was presented at the Shaw Festival in 2023  and is now revived at the Bluma Appel Theatre in Toronto. The production is by Why Not Theatre and Canadian Stage.

Part 1

 The complex story goes over numerous generations of kings, queens, princes and princesses, lesser mortals and gods. There are two closely related feuding families, the Pandavas and the Kauravas, first cousins who engage in an epic dynastic war. The Storyteller (Miriam Fernandes) narrates much of the tale as we meet the ambitious cousins, the fights for kingship, the marriages, the offspring and much more.

The Storyteller advises us “not be confused by the plot” and if you can do that, I tip my hat to you. I was not so much as confused as I did not know in what generation the story was taking place and who was doing what to whom. To me, the unlettered, in Sanskrit script and culture, the names alone were murder. Dhritarashtra, Duryohana, Yudhishthira, Bishma, Bhima were not always easy to distinguish. I need more exposure to the names and the mythology behind them. 

The cast of Mahabharata (Shaw Festival, 2023). Photo: Michael Cooper

An issue for me was the presence of a band on stage that played throughout the performance. All the characters had to speak over the background music which included chanting, humming and playing music. The music did not sound bad at all. The original music and sound designers are John Gzowski and Suba Sankaran with Hasheel Lodhia as traditional music consultant. Do you pay attention to the dialogue and dismiss the music as something in the background or do  you pay attention to the music and of course miss some of the dialogue?  I have no idea what the purpose of continuous background music was and at times I found it downright annoying. 

Shiva (Jay Emmanuel) performs a lengthy and athletic dance routine with some familiar poses but aside from that, I understood very little of the purpose of the segment. The choreography for the play is by Brandy Leary with contributions from Jay Emmanuel and Ellora Patnaik. Emmanuel’s talent and endurance are admirable.

The final scene brings the story together with the two factions of warring cousins facing off against each other and agreeing to settle everything by throwing dice. It is a high stakes match that has the advantage of clarity of plot and high drama. The Dharma King Yudhishthira gambles and loses everything, his city, wealth, kingdom, his brothers, himself, even his beautiful wife Queen Draupadi. (She has five husbands) They all become slaves of Duryodhana, the eldest son of King Dhritarashtra and the leaders of the Kauravas. They proceed by ritually undressing and humiliating Draupadi in an amazing scene.

The generous Dhritarashtra grants clemency to all the Pandavas and releases them. But there is a final toss of the dice. The losers will relinquish their kingdom to the winner and live in exile in the forest for twelve years. They will live incognito in public for one year after that and if they are not recognized, their kingdom will be returned to them.

Duryodhana wins and rejoices.  Bhima the Pandava warrior vows to kill him and slaughter his ninety-nine brothers. Ajuna the greatest archer vows to kill Karna, the son of the sun god and great Pandava warrior. Draupadi vows that thirteen years hence the Kauravas women will be smeared with the blood of their slaughtered sons.

A blood curdling end of part 1.

The set by Lorenzo Savoini shows a large red circle on the stage and much of the action takes place in it. Beyond that circle sat the band who of course stayed and played for the duration of the performance. The lighting by Kevin Lamotte, like the stage design was dramatic, as becomes an epic story.

Part 2

There is a dramatic shift in plot development and tone in Part 2. The band is silenced and there is extensive use of projections, television monitors and a sense of modern times. The embittered Pandavas have endured their exile in the forest and are now appearing in public but fear being recognized and so sent back into exile for another dozen years.

But it seems that they have completed their sentence and according to the wise Bishma and the decent Dhritarashtra they are entitled to the return of their kingdom. The hot-blooded and ambitious Duryodhana states that he has found them which means they have breached the terms of their exile. He is ready to go to war. 

The cast of Mahabharata (Shaw Festival, 2023). Photo: Michael Cooper

The Pandava leader Yudhishthira wants to negotiate peace but his chief warrior Arjuna is prepared to fight. The positions are drawn up and negotiations are bound to prove fruitless. Dynastic arguments of who is right and who is wrong continue but we know that war is inevitable. But there are complex revelations about origins and parents that delay the inevitable bloodshed. Karna, for example, is revealed to be the son of the god sun and in fact a Pandava! Arjuna is fighting against his own family members. The slaughter goes on for twenty days. 

In Part 2, there is an extended opera aria sung by soprano Meher Pavri as the voice of Krishna. The role of Krishna is played by Neil D’Souza. It contains moral and philosophical wisdom. It is beautifully sung in Sanskrit with English surtitles.

I have not given credit to the international cast of artists, many playing numerous roles in what is already a complex story. In no particular order I applaud Miriam Fernandes as the sprite Storyteller who takes on other roles as well; Anaka Maharaj-Sandu as the great archer Arjuna; Ravin J. Ganatra as Dhritarashtra; Shawn Ahmed as Yudhisthira; Darren Kuppan as Duryodhana; Goldy Notay as Draupadi and Gandhari; Ellora Patnaik as Kunti  and Drona; Jay Emanuel in four roles including Drupada and Shiva; Navtej Sandu as Karna;   Sukonia Venugopal as Bhishma.

Writers Ravi Jain and Miriam Fernanes advise us in a note in the program that they carved ploughed and weeded through the epic myths for ten years. That is an epic in itself.

My reaction to the two-part production of Mahabharata is one of admiration, frustration and perplexity. I need a lot more knowledge of the original epic and the cultural background to understand and enjoy the production fully.

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Mahabharata: Karma. The life We Inherit, Part I and Mahabharata: Dharma. The Life We Choose Mahabharata, Part 2 written and created  by Ravi Jain and Miriam Fernandes from Carole Satyamurti’s retelling of the myth continues until April 27, 2025 at the Bluma Appel Theatre, St. Lawrence Centre for the Arts, 27 Front Street East, Toronto, Ontario. www.canadianstage.com

James Karas is the Senior Editor, Culture of The Greek Press 

 

DAVID AND JONATHAN - REVIEW OF 2025 OPERA ATELIER PRODUCTION

Reviewed by James Karas

The cover of the program of Opera Atelier’s production of Marc-Antoine Charpentier’s  David and Jonathan shows a shot of Michelangelo’s statue of David,  surely the ultimate definition of male beauty and virility. David is best known as the slayer of the brute Goliath and as one of the early kings of Israel. The opera has almost nothing to do with the fight with the Philistine  Goliath but that seems to be the reason for the unknown David gaining a position in the royal household and developing a strong friendship with Saul’s son Jonathan.

Marshal Pynkoski and Jeannette Lajeunesse Zingg, the artistic directors of Opera Atelier have done a brilliant job of recreating the opera and providing us with a stunning production. They have included the Artists of the Atelier Ballet and the Tafelmusik Chamber Choir (and of course the Tafelmusik orchestra) to enrich the production. Ms Lajeunesse Zingg’s judicious and splendid choreography introduces almost a ballet performance and the Chamber Choir adds a gorgeous vocal pleasure.

The biblical story from the book of Samuel involves the complex psychological story of King Saul (baritone David Witczak) who takes the unknown David (tenor Colin Ainsworth) into his household for the good reason that he killed Goliath. David develops a deep and everlasting friendship with Saul’s son Jonathan (soprano Mireille Asselin).

Baritone David Witczak as Saul and tenor Colin Ainsworth as David in 

Charpentier's David and Jonathan. Photo by Bruce Zinger

Saul becomes jealous of David’s popularity and in the Prologue to the opera consults the witch Pythonisse (mezzo-soprano Mireille Lebel) about his future. She conjures up the ghost of Saul’s predecessor Samuel (bass-baritone Stephen Hegedus) who prophesies that Saul will lose everything.

The Pynkoski-Zingg team waste no time in setting a brisk pace with Saul running frantically around a lively witch and her demons commanding the stage for the duration of her presence.

David goes back to the Philistine ranks. Joabel (tenor Antonin Rondepierre), the leader of their army wants war while Saul and King Achis (baritone Christpher Dunham) of the  Philistines negotiate peace. Joabel finds a way to inflame Saul’s anger, mistrust and jealousy against David and an inevitable explosion occurs. The opera has an astonishing web of emotional entanglements that add to its fascination. Saul loves his son and David but then he hates the latter and is upset with the former. There is emotional stress and psychological uncertainty among the characters.

Artists of Atelier Ballet in production of Charpentier's 

David and Jonathan. Photo by Bruce Zinger

The emotional and political intrigues come to a head when the Israelites and the Philistines go to all-out war. David and Jonathan, the best and most faithful friends in the world, part. Jonathan and Saul are seriously wounded. Jonathan dies in the arms of his friend while Saul falls on his sword. Amid the horror and the slaughter, there is a glimpse of good news. David is proclaimed King of Israel. The Pynkoski-Zingg fertile imagination, their sense of theatre and their inventiveness create a stunning opera. Some directors feel that deep friendship between two men must have a homoerotic element to it. Pynkoski, to his credit, does not fall for that trap.

The production is a continuous visual and vocal delight. There are gorgeous ballet sequences at regular intervals and the Chamber Choir, I repeat,  is an aural splendor. The costumes by Michael Gianfranco are a colorful pleasure to behold. The set by Gerard Gauci in the reconfigured stage of Koerner Hall is an added bonus.

Ainsworth and Asselin are Opera Atelier stars whereas Witczak and Dunham are with the company for the first time. Hegedus, Lebel and Rondepierre have sung various roles with Opera Atelier. Kudos to exceptional performances.

David Fallis conducted the Tafelmusik orchestra impeccably and they and the cast provided a superb evening at the opera.      

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David and Jonathan by Marc-Antoine Charpentier opened on April 9 and will continue until April 13, 2025, at Koerner Hall, TELUS Centre for Performing Arts, 273 Bloor St. West, Toronto, Ont.   

James Karas is the Senior Editor, Culture of The Greek Press

 

INSIDE AMERICAN PIE - REVIEW OF 2025 PRODUCTION OF DOCU-CONCERT AT CAA THEATRE

Reviewed by James Karas

Mike Ross and Sarah Wilson have created a musical based on American rock and roll from the 1950’s to the 1970’s that is also a documentary about the growth of the music genre. They provide fascinating information and intelligent commentary about some of the songs, composers and performers of the era. Inside American Pie uses Don McLean’s “American Pie” as the pivotal song of the evening.

“American Pie” has become an iconic song with its extensive lyrics and cultural and historic references that are revealing and utterly fascinating. The lyrics of the dozen songs from the era receive commentary and indeed analysis of American society from the quiet and certain 1950’s to the uncertain and revolutionary 1960’s and the retrenchment of the 1970’s.

The songs used form a cross-section of popular music from Ritchie Valens to the Big Bopper, from Bob Dylan to John Lennon to The Beatles, The Rolling Stones and Janis Joplin.

The performers are Mike Ross who plays the piano, sings and narrates the commentary, Alicia Toner who sings, plays the guitar and the violin, Brielle Ansems who sings, Greg Gale, guitarist, and Kirk White, percussionist. They are concert performers that generate excitement, get audience participation and illustrate Ross’s commentary. All the performers are talented and have other lives but Inside American Pie originated in a tiny theatre in Prince Edward Island and played there successfully to a full house of 127 people for some years. Then someone from the Mirvish company noticed them and, as Ross tells us, here they are performing in Toronto. 

The cast of Inside American Pie. Photo: Dahlia Katz 

Ross tells us the story of Bob McLean who was delivering newspapers in 1959 and caught the headline about the plane crash in which Buddy Holly, Ritchie Valens and the Big Bopper  were killed. He was 13 years old at the time and the experience seems to have made an indelible impression on him. The memorable refrain of the song that he composed in 1971 “the day the music died” is much more than the shock of a boy on a shivering February morning delivering newspapers with terrible news about the fate of those musicians.

It was also the harbinger and a metaphor for social and political change. It was the end of the comfortable 1950’s and the coming of the convulsive following decade of assassinations (John F, Kennedy, Robert Kennedy, Martin Luther King Jr.), the decade of the Viet Nam War and student protests across the nation. The brilliant lyrics  have numerous references, many very cryptic, to historical and cultural events that are not easy to decipher.

One of the more interesting comments is Ross’s interpretation of the following lyrics:   

“And they were singin', bye-bye, Miss American Pie

Drove my Chevy to the levee but the levee was dry

And them good ol' boys were drinkin' whiskey and rye”

American pie or perhaps “as American as apple pie” is a symbol of content, happy Americans imagined in the 1950’s.  The Chevy driven across America may reflect ads for Chevrolet cars by Dinah Shore promoting happy driving across the country. The folks are drinking whisky in the town of Rye rather than the tautological whisky and rye. That’s like saying pasta and spaghetti, Ross tells us. Rye is a town where drinking was permitted. It is an apt and beautiful interpretation.   

The  numerous historical and cultural refreezes are astonishingly wide and a pleasure to detect or find out what others have discovered or guessed.

The performers are vigorous and entertaining. They stay in place as one would expect in a concert performance but the energy and spirit that they show and the expert use of imaginative lighting designed by Simon Rossiter make for an enjoyable evening.

The songs of about fifty to seventy years ago resonated enthusiastically with the audience, most of whom had direct memories or borrowed ones of the era and the richly textured lyrics, they did not hesitate to show their enthusiasm.

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Inside American Pie by Mike Ross and Sarah Wilson continues until March 30, 2025, at the CAA Theatre, 651 Yonge St. Toronto, Ontario. www.mirvish.com/

James Karas is the Senior Editor Culture of The Greek Press

TRIDENT MOON - REVIEW OF 2025 CROW’S THEATRE PRODUCTION

Reviewed by James Karas

Trident Moon by Anusree Roy holds the promise of a tense, dramatic play set in 1947 during the carving up of a part of the British Empire, the Indian subcontinent, into India and Pakistan. Six women, three Muslim and three Hindu are in a truck traveling from Pakistan to India. The Hindu women were servants of the Muslim women and have abducted their former masters and all are in a truck heading for India. The servants are seeking revenge for the death of the husband of one of the women. This may be termed as the revenge of the servants.

The Hindu Alo (Anusree Roy) seeks revenge on the Muslim women for the murder of her husband and sons by the Muslim Pari’s (Muhaddisah) husband. She is with her sister Pari (Muhaddisah) and daughter Arun (Sahiba Arora). The well-off Muslims are abducted, as I said, by their former Hindu servants. Sweet vengeance.

The Hindu women are travelling to the safety of India. The husband of  Alo (Anusree Roy), one of the Hindu women, was killed and she is bent on wreaking vengeances on the Muslim women in the truck. The fate of the captives may be as ugly as delivering them to sexual abuse in the hands of Hindus. This is even though Alo raised the child Heera (Prerna Nehta) who is in the truck.

The women are travelling through the hellish war that is raging along the route. There is anger, violent language and physical violence. A woman is seriously injured and stretched on the floor. The women face imminent danger and they fear what might happen any minute. They are joined by two other women that are equally terrified of what maught happen to them. In a war zone no one is safe and the abductors and their captives soon realize that no one is safe. 

L to R: Sahiba Arora, Afroza Banu (standing), Zorana Sadiq, 
Michelle Mohammed, Prerna Nehta, Sehar Bhojani (lying down), 
Imali Perera (standing), Anusree Roy, and Muhaddisah. Photo: Dahlia Katz 

It is all a very dramatic story with some marvelous performances but some dramatic problems. The cast are dressed in traditional costumes of different colours for the Hindus and the Muslims. The problem is figuring out the details of who is who and what is happening in the plot development. I am not sure of the names of all the characters and I could not always hear what they were saying. At times, there  is a lack of enunciation sufficiency to follow all the dialogue. That means parts of the plot simply did not register.

We hear the noise of the truck and plenty of boom booms without much context or explanation. You can’t have a war thriller and a situation where the captors and their captives seem to put their differences aside when the external dangers take over and someone demands sex. A woman raises her dress and bends over allowing him to rape her. Some context, please.

One of the women has a gun that she keeps brandishing and near the end a half-naked man brandishing a rifle boards the truck. He is a thug demanding gold and is told there is none and he goes on to conduct a ludicrous body search of all the women. He is a bit of a clown or just an idiot who overacts and is simply annoying. He is named Lovely (Mirza Saehan), the only male in he cast and easy to identify.

The set  by Jawon Kang features the rear door of a truck and large curtains from the top of  the stage envelope scene. We see smoke and hear explosions and rifle shots when the truck door is open. It is simply hellish.

We are grateful to Anusree Roy for writing a play about a pivotal and tragic point at the  end of British rule of India and its incompetent and disastrous division into India and Pakistan. Unfortunately, the production, despite the powerful story of the play, lacks clarity and context.  Director Nina Lee Aquino commits some fundamental errors in not ensuring that all the actors spoke clearly, enunciated and could be heard at all times.

The names of the cast are Arun (Sahiba Arora), Sumaia (Afroza Banu), Bamnn (Sehar Bhojani), Munni (Michelle Mohammed), Pari (Muhaddisah), Heera (Prerna Nehta), Rabia (Imali Perera), Sonali (Zorana Sadiq), Lovely (Mirza Sarhan).

A big disappointment.

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Trident Moon  by Anusree Roy opened on March 7, 2025, continues until March 30, 2025, at the Guloien Theatre, Crow’s Theatre, 345 Carlaw Avenue, Toronto, Ontario.  http://crowstheatre.com/

James Karas is the Senior Editor, Culture of The Greek Press