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Fairy tales
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By NEIL BOYCE John & Béatrice Béatrice, a modern spoiled princess, lounges around her 33rd floor apartment after circulating a provocative poster: “Well-to-do young heiress, intelligent and perceptive, who has never loved anyone is seeking a man who will interest, move and seduce her. Substantial reward offered.” Reconfiguring this modern Rapunzel story is director Guy Sprung. “It’s a fairytale,” he says, “deceptive in its innocence, but when the actors start punching each other out in the middle of a scene, it gets very serious and very astute about the male-female imbroglio in the universe.” Sprung first sought out Tania Kontoyanni for Béatrice, “an extraordinary actress,” Sprung remarks, who works mainly in French, then cast Frank Schorpion as the money-motivated John. On directing the two-hander, he says, “It’s kind of a gift when there’s just the three of you and it’s a play about relationships. You get to examine that—the way we pitch this love story is a bit of a cross-cultural thing.” The Fréchette play overlaps Infinitheatre’s next show, sharing the same set with Carolyn Guillet’s Plucked, Hammered and Strung in a matched set of women-authored works. As he looks at the season ahead, Sprung reflects on the ever healthier anglo theatre scene: “There is such a wealth of creativity and activity in English theatre in Montreal—it’s like a hidden jewel—and it’s all because there is a whole new energy and creative generation happening.” Life Is a Dream
Pedro Calderon de la Barca’s fantasy follows Prince Segismundo, imprisoned since birth in a mountain cavern because fate predicts he will grow up to become a tyrant. The aging king, however, has no heir and decides to release the prince, giving him a day of royalty to disprove the prophecy. Andreas Apergis as the Prince and Leni Parker as King Basilio highlight the cast, with design work from talented up-and-comer Sarah Yaffe. “I’ve got la crème de la crème in Montreal in this play,” says director Darcy. “I’m really lucky.” I wonder if the work is especially appealing for them because the fantasy allows them to go anywhere: “That’s exactly it. That’s the thing that really turns our whole company on: ideas of playing with reality and the different levels that can bring—not just theatrically, but philosophically. Our general theme as a company tends to be slightly absurd, but dramatic and truthful pieces.” Darcy’s emphatic about the need to mix up acting and directing gigs in her busy life. “It keeps my brain alive. When I’m acting, I get to focus internally and work on the mindset of one person. As a director, I get to look at the mindset of a global environment. Both ways are fascinating... but I can’t do one for long without wanting to do the other.” Final note: JOHN & BÉATRICE |
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