Infinity, the new co-production between Volcano Theatre and Tarragon Theatre serves up risky theatre, and it works
The inclusion of violinist Andrea Tyniec adds an extra depth to Infinity. With Paul Braunstein and Amy Rutherford.
Infinity is a captivating new play by playwright Hannah Moscovitch, who has written several original scripts for Tarragon Theatre. Moscovitch is a smart writer and her dialogue crackles. She has written three fascinating character studies and for the actors, this must have been a delight to work on. This play is about time, obsession, love, and family. It is about people who don’t quite fit in the world because of their eccentricities, and who can’t seem to connect as a family. This play is also about avoiding feeling but yet somehow the characters reveal so much, exposing their vulnerabilities, thrusting forth their flaws for examination.
In my opinion, Ross Manson is one of the most interesting directors currently working in Toronto theatre. This is only the second production I have seen under his direction but once again Manson successfully employs the use of a nearly bare stage while injecting original music, movement and showcasing a stellar cast.
The stage was quite sparse save a table, a few chairs, and some boxes filled with files. There was a sheer backdrop that comprised the walls of the space. Manson employed violinist Andréa Tyniec to play original music composed by Njo Kong Kie. Tyniec in a long white dress became part of the action. Sometimes playing right next to the actor on stage, sometimes in the shadows or in silhouette behind the backdrop, and once strikingly, she makes eye contact with the daughter, the invisible becomes visible. This small action evoked so much, and allows the audience to create their own conclusions.
Either Manson really lucks out and casts terrific actors or he is responsible for mining such authentically unique and emotionally cracked-open performances—it is probably a bit of both. Paul Braunstein’s charisma sparkled all over the stage as a quirky, possibly on the autism spectrum, scientist who struggles to connect with his family as much as he connects with his PhD notes.
Amy Rutherford was a grounding force (as she was in Manson’s production of A Beautiful View), playing the conflicted wife and mother who tries desperately to connect with a husband and child that are so alien to her. It is not an easy task to play the straight man against two characters who have more showy roles, but Rutherford’s quiet, contemplative take is powerful. Haley McGee is a stand out as the damaged daughter. McGee embodies weirdness exquisitely. She bounces from fantastic comedic timing to gut wrenching emotionality.
Something I noticed in both of the Manson productions is the very unique use of movement, the extraordinary attention to detail and the ability to take a script to the next level.
My one complaint with Infinity is that at times, the hysterical, angry moments of the show seemed forced, too big and too loud. These large outbursts didn’t quite land, and so the emotional impact that may have been possible was missed. I wanted to go all the way with these characters but in the end, there was a distance between them and the audience. So many of the notes in this piece worked, but not all of it resonated.
Still, Infinity is such a success on so many levels, and I am always going to applaud risky theatre making. Manson doesn’t play it safe and that is always thrilling.
Terragon’s Infinity plays Mar 25 – May 3, 2015 in the Extraspace. For tickets, please visit: tickets.tarragontheatre.com
Tarragon Theatre’s Extraspace, 30 Bridgman Avenue, Toronto, M5R 1X3
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