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The war in Ville Lasalle >> New Rossi play takes on history by AMY BARRATT
With the notable exception of Rahul Varma (Counter Offence), the local theatre scene is dominated by hip, Fringey playwrights whose sense of history doesn't extend much beyond 1970s' TV. Don't get me wrong, I like the short, snappy shows; nevertheless, it's reassuring to know that somebody's still taking on more substantial material. So good for Rossi, whose new play tackles a moment in our history that few of us know anything about--the internment of Italian-Canadians during WWII. And good for Rossi and the H.B. Arts Foundation for rustling up corporate sponsorships and mounting this independent production at the Centaur. Paradise by the River recreates what happened in Montreal in June 1940 when Italy entered the war on Germany's side. Law-abiding Canadian citizens like Romano Dicenzo (Mark Camacho) are taken from their homes and families and held without being charged at Camp Petawawa in Ontario. Many others not arrested have their salaries frozen and are ordered to report monthly to the RCMP to collect a $12 stipend. Though in some ways a stretch for Rossi, whose previous work has not strayed very far from his personal experience, Paradise by the River shares a distinctively Montreal flair with his early plays like Little Blood Brother and The Chain. Rossi seems to know instinctively that all you have to do is mention Ville LaSalle and a local crowd goes wild. Rossi has obviously done his research and wants to work in as much historical information as he can, but the script as it stands too often resorts to exposition, which slows the action. Still, the 10 actors, many of whom play multiple roles, are strong. Penny Mancuso has a quiet dignity as Maria, the pregnant wife who fights to have her husband released and his assets restored to him. She seems to have fewer lines than the men (possibly because Rossi is still somewhat insecure about writing women characters) but this may actually be a blessing in that it allows her a bit of room to act. Despite the heaviness of the subject matter, Rossi has thankfully not forgotten his sense of humour. Carlo Berardinucci provides moments of comic relief as an 18-year-old internee in a constant struggle against his own horniness. As Lorenzo, a neighbour of the Dicenzos who speaks only Italian, Louis Tucci is a delight. Even non-Italian speakers can usually follow the gist of what he is saying ("Bastardi!" "Figlio di puttana!"), and his body language is priceless. Joel Miller's direction fails to give much shape to the nearly three-hour-long play. There are a few truly moving moments, however, including a beautifully directed, wordless, reunion scene. Doubtless a lot of painful cutting and rewriting has already gone into the work, but I'm afraid more is in order if this show is to have the devastating impact it should have. The 8:30 p.m. start time is also unfortunate. Centaur subscription series shows always start at 8 p.m. To avoid box-office and front-of-house mayhem, "rental shows" like this one are given the option of beginning at 7:30 p.m. or 8:30 p.m. Rossi's company, for some unfathomable reason, chose the later start time, making the evening seem even longer than it was. Paradise by the River is at Centaur Theatre to May 24
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It takes chutzpah in this day and age to write a play with an absolutely linear storyline and 20 characters. Vittorio Rossi is totally out of step with what's fashionable, and that is what makes him so interesting as a playwright.