by AMY BARRATT

I'm going to go out on a limb here and recommend that everyone go see infinitheatre's Barnacle Wood. There's no guarantee that Trevor Ferguson's latest play, directed by Guy Sprung, will be to everyone's taste, but it is a remarkable achievement nonetheless. English Montrealers in particular need to see it as an example of what our theatre scene could be.

Every year, we're offered dozens of apologetic little shows - often well-acted, sometimes even well-written - with no production values. I'm not blaming the companies behind these shows. They have no funding. But the risk is that if you watch, or participate in, too many of these productions, you start to think they're all you deserve.

The French community is rich in middle-sized companies producing new works on decent budgets. Sometimes these shows work and sometimes they don't, and it doesn't matter that much because there's always next time. In English theatre, outside of the two "permanent" companies, you're never sure there will be a next time. Which makes infinitheatre's accomplishments all the more impressive.

Since 1997, when Guy Sprung took over the reins of the former Theatre 1774, infini has co-produced 48 new Quebec plays. They have not all been given the star treatment accorded to Barnacle Wood, but even so, this company provides an invaluable service to playwrights and to the English community.

So what about this production? First of all, it's gorgeous. The set and lighting (by Benoît Royer and David Perrault Ninacs, respectively) are among the most brilliant I've seen in any production in any language in this city. Thin blades of light seep through wooden slats into the cold damp universe under an ocean pier in northern B.C. The jumble of platforms and ladders allows Sprung to make use of numerous levels, creating an excitingly kinetic performance.

While I'm thrilled about the production values, the real wonder of this show is the poetry of Ferguson's writing, which could stand up all on its own. Each character adds his own colour to the spoken music of this piece about down-and-out characters waiting for work as fish cleaners, if the fishing boats ever come in: Eric Goulem as the wheeling-dealing Gimp; Lina Roessler as the tough-as-nails Hopi; Eric Davis as the gormless man-at-work Vance, sent from "above" to do repairs on the crumbling pier. The piece is anchored by Pilot, fleeting ruler of this underworld, and the autistic Christopher. Alex Ivanovici is inspired as the latter, but Andreas Apergis seems to have fallen too much in love with the poetry of his lines, by the second act adopting almost a singsong delivery.

Whether this production ultimately lives up to all of its promise is debatable. But its scope and its vision are an inspiration, and for that reason it should be seen by anyone who has a passing interest in the English theatre scene.

Barnacle Wood to April 4 at Bain St-Michel (5300 St-Dominique), 987-1774, Ext. 3, $16–$26

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