Crystal Balint and Allan Louis in Helen Lawrence.
The aesthetics of Helen Lawrence reminded me of a Canadian Stage production from a few seasons ago, Tear the Curtain. Both incorporated the film noir style, and implemented filmed segments alongside live stage acting. In Tear the Curtain, the filmed portions were produced separately and were interspersed with the live action on stage. In Helen Lawrence, the look and feel of the piece are similar but the difference is the action of the play is being filmed live and the actors appear on a large scrim with virtual spaces as the backdrop. Other images such as computer generated 3-D recreations of a 1948 Vancouver skyline are also used.
Haley McGee and Lisa Ryder in Helen Lawrence.
This is a very interesting concept and I really enjoyed splitting my focus between the actors on stage in full color and their large screen black and white close up on the screen. Witnessing the large spectrum of emotions that you normally might not be able to see in the theater unless you are in the front row was quite the treat. Stage and screen acting are quite different in that on stage you can get away with a broader acting style while on screen the actor must be much more contained. The actors seemed to successfully marry the two worlds, which made for a dynamic and intimate theatrical experience.
The script written by Chris Haddock wasn’t as compelling as the rest of the experience was for me. I lost interest about an hour into the ninety-minute piece. The last half seemed to lag and if it wasn’t for the visual artistry of the piece, I would not have continued to be engaged.
The piece was developed over a three-year period and is a collaboration between visual artist Stan Douglas and Haddock. The story takes place post World War II and looks at a city struggling to regain its footing and a group of people trying to find their way in the dark underbelly of the city.
The entire cast produced solid performances with the female characters really taking center stage. Emily Piggford played the charming Hogan Alley prostitute, Rose George. Piggford reminds me of a young Meg Tilly. Fresh faced, endearing, and completely likable. I recently saw her in the Summerworks production Complex where she shone as an older woman seducing a younger man. She was equally as vibrant in this show.
Lisa Ryder plays the central character Helen Lawrence with a cool, seductive, no nonsense air. Ryder could easily have stepped on a film noir set and been entirely believable in that era. The performance that I am sure will stand out for anyone that sees this production is Haley McGee’s funny, tough, androgynous Julie Winters. There are characters that are tailor made for the actor or the actor is so talented, they ensure that they steal the show. I am not sure what the case was here but it is hard to take your eyes off McGee.
I recently read an article that Canstage is celebrating its third consecutive year of a surplus. That is quite an accomplishment for a non-profit theater company. This can largely be attributed to Matthew Jocelyn’s bold, innovative and risky choices. Helen Lawrence is no exception. Although I didn’t entirely love the script, visually this piece is quite a feat and will likely keep you captivated.
Helen Lawrence plays at the Bluma Appel Theatre through November 2.
For more information or tickets, please visit: www.canadianstage.com
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