‘Directed with bold intent by George F. Walker and peppered with grounded, believable and ‘fierce’ performances by Liz Best and Elizabeth Friesen.”

Playwright and director George F. Walker takes his ‘Fierce’ and markedly turns it upside down. At times, this opening night production left me laughing rather uncomfortably. For one, the programme bills ‘Fierce’ as healing through strange and meaningful connection (and a combination of illicit substances and pizza). That made me smile, but okay, I’ll buy into it.

What is remarkable about this opening night of ‘Fierce’? What appears conventional at the top of the show becomes twisted and bent by the end, leaving me shaking my head and wondering if a story like this could occur where boundaries have been crossed in client/medical professional relationships.

One thing is for sure – this ‘Fierce’ makes for good theatre.

Jayne (Elizabeth Friesen) has been newly released from prison after another drug and drink-fuelled public disruption. She lands in psychiatrist Maggie’s (Liz Best) office for court-ordered treatment. During the 80-minute session (sans interval/intermission), Jayne and Maggie go head-to-head in revealing and confronting hidden sides of themselves that have been buried deep for years. They struggle to cope with these sorrows and somehow bond through a need to escape the past.

Douglas Tiller’s realistic-looking set design of Maggie’s office amply fills the black box third-floor theatre setting at the Alumnae. Daniel Shiels warmly lights the office playing space with a slight dimming to indicate time has passed. Tiller and Scenic Painter Alysson Bernabe have effectively captured that sterile office environment of the white walls. Office accoutrements of a lamp, the proverbial plant, and a coat rack are far stage left.

Centre stage is the sitting area comprising a couch and Maggie’s chair. Upstage right is Maggie’s desk—props to designer Fabiana Mercurio for having Maggie’s degrees on the walls and the striking picture placed centre on the back wall of a vast (farmer’s?) tilled field that caught my eye when I sat down. Pictures in an office usually indicate something about the person. Farmers grow productively for consumption or use and typically profit from their goods. Is this how Maggie sees herself with her clients?

Walker directs his script boldly and elicits grounded performances from his actors. Pacing is natural, and spoken dialogue is enunciated clearly.

Elizabeth Friesen’s Jayne is quite the sight when the audience first meets her. Her right arm is in a sling. She sports pink hair, and her makeup for the black eye due to the off-stage accident looks very real and sore. Fabiana Mercurio dons Jayne in white socks and sandals and wears realistic inmate clothing from earth-toned sweatpants and a matching sweatshirt. It seems like there is dried blood on the front of her costume. When the audience first sees her, Liz Best’s Maggie becomes a perfect juxtaposed foil to Jayne. Mercurio dresses Best in a smart-looking pantsuit. Her hair and makeup are perfectly coiffed in that professional, trustworthy look for a psychiatrist.

Friesen and Best deliver terrific performance work.

They remain focused and in tune with each other. They keenly listen, move around the office with purpose and reason, remain seated with intention, and respond appropriately while never hinting at over-the-top histrionics in aggressive or hostile moments. To say anything more about the plot would spoil the surprises the audience learns about these two women, their closeted skeletons, and their hidden secrets that have been vaulted for apparent reasons that become clear as the story unfolds.

Final Thoughts: On the Moss Theatre Collective Facebook site, Walker was interviewed by someone who asked if he had any advice for emerging playwrights. He responded that it’s important for playwrights to bring life to the theatre.

The same also applies to audiences. To bring life sometimes means to challenge.

George did that to me as an audience member.

I thought I knew the meaning of ‘fierce’; however, when I looked the word up just to be sure, what else did I discover about its meaning: “heartfelt and powerful intensity…proud…strong and proud, exceptional and passionate.”

These keywords also describe Moss Theatre Collective’s fine production of ‘Fierce’ and why you should see it.

Running time: approximately 80 minutes with no intermission.

‘Fierce’ runs until September 21 in the Studio Theatre, 3rd floor, at the Alumnae Theatre, 70 Berkeley Street, Toronto. For tickets: @mosstheatrecollective.ca

MOSS THEATRE COLLECTIVE & ALUMNAE THEATRE COMPANY present
‘FIERCE’, written and directed by George F. Walker
Producer and Assistant Director: Lori Delorme
Producer and Assistant Director: Cassidy Sadler
Stage Manager and Lighting Operator: Shannon Farrell
Set Designer and Builder: Douglas Tiller
Lighting Designer: Daniel Shiels
Sound Designer: Andrew Honor
Props and Costume Designer: Fabiana Mercurio

Performers: Liz Best, Elizabeth Friesen