VOICE CHOICE

“Michael Healey’s ‘The Master Plan’ is a masterclass in ensemble acting. After seeing it again a year later, the production’s sharp satirical edge digs even deeper, leaving a theatrical scar that I hope never heals. The acting is outstanding, and the direction is excellent. A Voice Choice!”

Perhaps it’s one more year of life experiences of personal loss and disappointment. Seeing Michael Healey’s ‘The Master Plan’ again makes me even more appreciate the theatrical artistry on stage and behind the scenes. It’s a hell of an absolute joy to sit back and get caught up again in the machinations of tech titans in Toronto boardrooms over the ill-fated ‘smart city’ experiment on the city’s waterfront.

Based on The Globe and Mail’s journalist Josh O’Kane’s ‘Sideways: The City Google Couldn’t Buy,’ we enter the world of messy corporate drama and larger-than-life personalities (read: bullies if you like in there) in the affair between Sidewalk Labs and Waterfront Toronto.

In 2017, when Waterfront Toronto decided to put up a parcel of land for development (around Lakeshore Blvd) south of where the Distillery District sits, Sidewalk Labs (a subsidiary of Google’s Alphabet Inc) swept in with a proposal to create the city of the future. There were so many questions regarding sustainability and an equitable future when this occurred. It was a bold move of promises in city building, tech ambition and urban innovation.

But it all comes crashing down when promises are broken, questionable partnerships are formed, and mega egos are involved.

The performance is once again staged in the round at the Michael Young Theatre. The set design by Joshua Quinlan features a futuristic, chic, and angular boardroom that, despite its sleek appearance, feels quite sterile. Kimberly Purtell's ‘boxing ring’ lighting design effectively highlights the growing sense of an unfeeling atmosphere in the boardroom as the plot unfolds. The stage is filled with numerous props, and credit goes to Joshua Quinlan for the extensive work involved in their arrangement. Additionally, Thomas Ryder Payne’s sound design is excellent, ensuring the dialogue is clear and easy to hear.

As the audience enters, they are invited to go down to the stage to examine the design of the smart city. The actors enter as the characters milling about with the audience and asking if they know of this time period in Toronto. Amelia Scott's video design features a collection of news articles and photographs displayed on screens encircling the top of the performance area, utilizing 16 video screens. Two cameras are positioned at opposite ends of the stage, allowing audience members to see their images appear on the screens. Ming Wong has the critical task of selecting costumes that range from professional business attire to casual streetwear. She successfully outfits each cast member to reflect their distinct personalities.

Chris Abraham’s direction remains stellar once again.

Even a year later, the performances remain outstanding. The actors have found their rhythm as they continue to explore the characters' quirks and idiosyncrasies more deeply. In addition to playing specific characters, the actors play other roles with a quick costume change or carrying in a specific prop.

Mike Shara has grown to be even smarmier a year later as vain, cocksure and blustery Dan Doctoroff, the American CEO of Sidewalk Labs. This time round, Ben Carlson’s smouldering Waterfront CEO Toronto Will Fleissig looks and reacts as if he might just punch the wall of the boardroom. There are moments when Carlson’s anger is beautifully contained but he gives hints that even the minutest detail of something going wrong will send his Will over the edge into tremendous fits of anger.

Philippa Domville’s Meg Davis, a Waterfront executive (and Ontario Premier Bill Davis’s daughter), remains that voice and presence of calm near the end of the play in picking up the pieces after the ‘empire’ comes crashing down around all these key players. Davis believed firmly in this project, and Domville appropriately continues that sense of knowing what Meg is doing is right.

Although the ‘cake’ scene with Domville is still momentarily hilarious, it’s also a tad offsetting in seeing so-called professional boardroom executives behave in such an ill approriate manner. There’s a strong sense of dignity in Christopher Allen’s final monologue delivery that these corporations might still be able to rise like the phoenix from the ashes of a fallen corporate setting.

There are new members of the cast for this revival who bring their unique understanding of the unfolding events.

Tanja Jacobs splendidly skewers an Anglophone-speaking French and former Toronto mayor, John Tory, and an Eva Peron like former Ontario premier Kathleen Wynne. Rose Napoli plays Kristina Verner, another Waterfront executive. Both Napoli and Domville effectively heighten a sense of tragic outcome about this ‘smart city’ as they work away on their computers near the end of the play. Napoli is also a riot as Toronto councillor Frances Nunziata.

Fortunately for Toronto audiences, playwright Michael Healey plays Tree in this revival of his play. Director Chris Abraham and Healey made this smart decision to do this.

Why is that?

Healey brings a strong sense of closure and finality to this relatively recent story. It’s his narrative, infused with his perspective, humour, and interpretation of events, that, I believe, divided Toronto.

As a result, we, the audience, gain valuable insights into this period, even though we are reminded at the beginning of the second act that it is still a work of fiction.

Running time: approximately two hours and 40 minutes with one interval/intermission.

‘The Master Plan’ runs until December 29 at the Michael Young Theatre in the Young Centre for the Performing Arts in Toronto’s Distillery District, Tank House Lane. For tickets, visit www.soulpepper.ca or call (416) 866-8666.

SOULPEPPER AND CROW’S THEATRE present
‘The Master Plan’ by Michael Healey
Based on ‘Sideways: The City Google Couldn’t Buy’ by Josh O’Kane

Directed by Chris Abraham
Lighting Designer: Kimberly Purtell
Set and Props Designer: Joshua Quinlan
Sound Designer: Thomas Ryder Payne
Video Designer: Amelia Scott
Costume Designer: Ming Wong
Stage Manager: Jennifer Parr

Performers: Christopher Allen, Ben Carlson, Philippa Domville, Tanja Jacobs, Michael Healey, Rose Napoli, Mike Shara.