VOICE CHOICE, a must see for masterclass stage work.

“Louise Lambert delivers a masterclass, jaw-dropping performance. The entire cast is marvellous.”

Director Diana Bentley kept me on the edge of my seat as I made an unforgettable journey into the horrendous depths of addiction and recovery in playwright Duncan Macmillan’s searing ‘People, Places and Things.’ There were moments when I held my breath: the dazzling sights and thunderous sound effects become representative of the addict’s often harsh recovery process.

The intimacy of the Coal Mine Theatre puts the audience right into the heart of the action. We are not merely watching; we also become part of Emma’s addiction recovery sessions.

When the performance begins, the audience is watching a performance of Chekhov’s ‘The Seagull’ when actress Emma (Louise Lambert) becomes emotionally distressed on stage. She slurs her dialogue, and a mix-up of lines leaves her scene partner bewildered. It seems that Emma might be under the influence of something. A controlled yet frantic pandemonium momentarily unfolds when she finally collapses. During the scene change, hospital personnel arrive, and Emma is stripped of her ‘Seagull’ stage clothing. Next, it appears that we are in a rave nightclub where the patrons are out of control, all united by movement director Alyssa Martin’s exhilarating and breathtaking choreography.

Emma is talking to her mother on the phone when the lights reappear. However, she is rude, bold, and confrontational. What follows in ‘People, Places, and Things’ is Emma’s recovery from the dark depths of addiction. The meaning of the title (the definition of a noun) can trigger addictions, leading individuals to relapse and back into recovery once more.

Steve Lucas maintains a simple set design of a three-quarter theatre in the round setting that doesn’t detract from the story. Around the auditorium, there are institutional-looking white walls. A scrim around the stage as the audience enters becomes effectively removed during the ‘Seagull’ performance. The set also juts into the audience, where some characters will sit on stairs while the action takes place on stage.

The meticulous timing of lighting and sound cues continues throughout the performance, thanks to Bonnie Beecher and Jeff Pybus’s pulsating shadowy lighting that renders the characters eerily frightening at several moments. I was reminded of that old SENSURROUND component of films from the early 1970s when I heard Thomas Ryder Payne’s incredible selection of sounds reverberating throughout the auditorium at times.

Diana Bentley directs with precision. Each character, including the ensemble members, has a clear purpose and thoughtful reasoning for their presence. While they participate in Emma’s group therapy sessions and exhibit distinct characterizations, several also serve as physical reminders of Emma with her blonde hair locks.

Oliver Dennis’s portrayal of the psychotic in-patient Paul is initially humorous. His hair is dishevelled, and he is shirtless. ‘THE END’ is painted across his chest, and he wears baggy jeans that hint at exposed underwear. Matthew Gouveia’s Foster and Farhang Ghajar’s Mark exemplify quiet strength and resilience. Both serve as powerful reminders that Emma can achieve success in her recovery. While Foster acts as the guide that a reluctant Emma can depend on, Mark consistently encourages the young woman to participate in group therapy sessions and avoid isolating herself from them. During these group therapy sessions, patients can rehearse what they will say to others who may have been affected.

As Emma's doctor and therapist, Fiona Reid portrays a reserved yet steely demeanour in her performance. While Emma’s growing reluctance to engage in the sessions becomes evident, Reid’s vocal tone suggests she can only do so much to help. She’s solid, grounded and naturally believable as a medical professional.

It becomes gut-wrenching in Act Two, watching Reid and Dennis portray Emma’s unyielding parents exceptionally well. Mum packs items from Emma’s apartment and places them in a box, triggering her worst spiral. Even though Emma has rehearsed what she will say to her parents, Mum and Dad clearly show no concern whatsoever for what they have done regarding their daughter’s mental health. They have nearly undone all the progress from the Act One therapy sessions to help Emma become healthy again.

Louise Lambert is the primary reason to see this production. She delivers a masterclass performance, showcasing remarkable character depth and genuine emotional highs and lows. The moments when it appears she experiences withdrawal from drugs and alcohol are both alarming and fascinating. Lambert’s final scene as Emma still tugs at the heartstrings. She yearns to return to the profession she loves but is also acutely aware that it may not resemble the world she once knew.

Will Emma be fine as she returns to the world she once knew as an actress? Macmillan doesn’t address it in his script.

Let’s not forget what Bentley included in her script about what she believes the playwright accomplishes with the script:

“[Macmillan] gives us a chance to stare down the barrel and question the central cause of addiction, and does so in the most theatrical way possible..that makes use of all the gifts the medium of theatre has to offer.”

Sometimes in life we have to stare down the barrel and face things head on.

That’s exactly what Emma does, and why this play is a powerful one.

Go and see it.

Running time: approximately 2 hours and 20 minutes with one interval/intermission.

‘People, Places and Things’ runs until March 7 at 2076 Danforth Avenue, Toronto. For tickets: coalminetheatre.com

COAL MINE THEATRE presents
PEOPLE, PLACES AND THINGS by Duncan Macmillan
Directed by Diana Bentley
Movement Director: Alyssa Martin
Set Designer: Steve Lucas
Costume Designer: Laura Delchiaro
Co-Lighting Designers: Bonnie Beecher and Jeff Pybus
Sound Designer: Thomas Ryder Payne
Stage Manager: Katie Fitz-Gerald
Producer: Liza Hersh

Performers: Louise Lambert, Oliver Dennis, Nickeshia Garrick, Farhang Ghajar, Matthew Gouveia, Sam Grist, Sarah Murphy-Dyson, Kwaku Okyere, Fiona Reid, Kaleb Tekeste