"Captivating! A true ensemble effort in the theatre. ‘The Wolves’ grabs attention immediately because the characters speak and sound like genuine young people in the twenty-first century. Go see it, particularly for the nine talented young performers who will surely shine on stage in the future.”

Nine high school adolescent girls practice in an indoor soccer facility. Throughout the story, the girls are never referred to by name in their conversations; instead, the audience knows them only by the numbers on their jerseys. However, this changes at the end in the final scene when we finally hear the names of some of the girls.

As the girls warm up before the game, the audience overhears their candid discussions about themselves, their relationships, their experiences, and their feelings toward certain adult figures. While their conversations can be harsh at times, this reflects how young people communicate with one another. They also talk about the possibility of earning sports scholarships after high school graduation.

At first, Sarah DeLappe’s raw one-act play slaps in the face for its unapologetic way in which the characters speak to each other. It makes sense, nevertheless. These girls are comfortably ensconced on their own turf in their soccer world, where they have defined themselves among themselves.

The phrase "being thrown to the wolves" suggests that individuals must learn to be strong in a harsh and competitive world that can potentially destroy them. DeLappe’s play addresses destructive themes head-on, including bullying, racism, and eating disorders. The nine girls in this story must confront these issues to survive on the soccer team.

And that's the reason why I find 'The Wolves' an appropriate production for young people to see because it deals with these issues. Because the girls are only known by their numbers and not their names, 'The Wolves' becomes universal in nature. It becomes a story that can happen anywhere and to any young person. These are real girls who live anywhere or everywhere. As the plot develops, additional themes emerge; however, I would prefer not to discuss them further to avoid spoiling the experience for future audiences.

As a retired high school educator, I know these themes have not changed in over forty years. There are parental and educator resources Geordie and Imago Theatres provide that I would recommend for further enlightenment and discussion.

The artists behind the scenes have created a visually engaging production. Set designer Julia Carrier utilizes an ‘alley’ or ‘traverse’ staging configuration, where the audience is seated on both sides of the performance area. This arrangement effectively mimics a real-life soccer field, with bleachers positioned on either side. No matter where patrons sit in the theatre, they have excellent sightlines. On stage left, which corresponds to stage right for the audience on the opposite side, there is an astroturf; on stage right, or stage left for the other audience members, there is a large soccer goal made of mesh.

Designers Jesse Ash, Tim Rodrigues and Rachel Quintero Faia have paid careful attention to minute details respectively in the areas of sound, lighting and costuming. They become more visual and sound highlights of the production. The sound of the off-stage crowd watching the game gives an idea of how large this indoor facility might be. Rodrigues beautifully captures that intense lighting that one might find in an indoor sports facility. Quintero Faia selects terrific-looking soccer sportswear right down to cleats.

Krista Jackson and Jimmy Blais co-direct the production with keen observation and insight. While it's uncommon to see co-directors for plays, the production team's decision proves wise and practical. One director focuses on character development and blocking, while the other oversees the technical elements, ensuring they align to create the desired dramatic effect. With nine emerging and talented actors involved, I hope to see them perform on stages across Ontario in the future.

This production of ‘The Wolves’ is another fine example of a genuine ensemble effort in the theatre. Each of these women is fully committed to and in the moment. They listen and pause when necessary. There are moments when the ladies allow the words of the other to speak and resonate before responding. Emotional peaks and valleys are equally balanced, never reverting to hysterics for dramatic effect.

However, I wanted to hear more about how the play was constructed regarding the believability of playing soccer on the stage, so I attended the talkback after the performance on the second night. Did these ladies all play soccer? Was that a pre-requisite for the audition? That talkback taught me more about the believability of these nine ladies playing soccer because none had been trained in the sport.

Soccer consultant Gillian Clark and director Jackson discussed owning the soccer ball and the text and how important it would be to build teamwork together to create that magical believability. They compared it to someone listening to an orchestral symphony of music—there are silences and builds to cacophonous yet angelic music. But it all takes effort to do that.

That same effort and teamwork in soccer were also needed to ensure that ‘The Wolves’ appeared believable as the ladies warmed up and practiced soccer drills.

The nine made that moment in the theatre magical for me and the packed house that night.

Running time: approximately 85 minutes with no interval/intermission.

‘The Wolves’ runs until November 17 in Le Studio at the Segal Centre for the Performing Arts, 5170 chemin de la Côte Saint-Catherine, Montréal. For tickets, visit segalcentre.org or call the Box Office at (514) 739-7944.

GEORDIE THEATRE AND IMAGO THEATRE present
‘The Wolves’ by Sarah DeLappe

Directors: Krista Jackson and Jimmy Blais
Sound Designer and Composer: Jesse Ash
Set Designer: Julia Carrier
Lighting Designer: Tim Rodrigues
Soccer Consultant: Gillian Clark
Costume Designer: Rachel Quintero Faia
Technical Director: Tibeau Mathews
Stage Manager: Kate Hagemeyer

Performers: Alyssa Angelucci-Wall, Meenu Atwal, Masha Bashmakova, Nora Barker, Quinn Dooley, Maria Jimenez, Darragh Mondoux, Amy Ring, Espoir Segbeaya