“This Goat is Golden Cashmere”

Stratford’s “The Goat or, Who Is Sylvia?”, an astonishing and gripping deep dive into the murky waters of tragedy and comedy, challenges notions of marriage and morality where the “other woman” has horns and a beard.

The Stratford Festival is North America’s largest repertory theatre company, recognized worldwide for producing Shakespearean plays. However, that doesn’t mean the company avoids the works of modern masters such as Arthur Miller, Ibsen, O’Neill, and Edward Albee.

In fact, Albee’s “Three Tall Women” was part of the 2021 season with the great Martha Henry in the final role of her illustrious career. Unsurprisingly, the Festival has decided to challenge audiences with, arguably, Albee’s best work, a modern-day take on Greek tragedy. ‘Goat’ is a play that brilliantly peels away the intricate layers of relationships, challenging conventional norms and navigating the realm of societal taboos - something mirrored in our world today.

The sold-out opening night performance featured tremendous performances from newcomers to seasoned veterans. Dean Gabourie’s creatively nuanced direction demonstrates his high proficiency in interpreting the text and blocking actors in the limited confines of the studio space.

It’s this rarely-produced gem of a play that I found most fascinating.

According to Gabourie’s program notes, Albee proclaims that “there was a second subtitle, ‘Notes Toward a Definition of Tragedy.’ The original Greek meaning of tragedy is ‘goat song,’ and its symbol to this day is the goat”.

Interestingly, Albee structures “The Goat” using Aristotle’s three unities of tragedy – unity of action, a tragedy should have one principal action; unity of time, the action should occur over no more than 24 hours; and unity of place, a tragedy should exist in a single physical location. These unities are wonderfully folded into a modern tale of morality, marital tolerance, and how we define it.

Martin is at the centre of the marital tempest, celebrating the success and happiness that marks his 50th birthday. He has the love of his devoted wife, Stevie, and his teenage son, Billy. His career is on a meteoric rise, having just won a prestigious architectural award. Martin’s life is sublime. One day he confides in his best friend Ross that his heart and mind belong to a goat named Sylvia. Martin’s intention to hold tight to his bestial love affair and the spiritual euphoria he derives from it turns his enviable life into an improbable and outlandish family drama. Something that he, Stevie and Billy need to resolve before it becomes society’s poison.

The wonder of this 2002 Tony-award-winning play is that it challenges our contemporary zeal for tolerance and acceptance. But this unconventional cautionary tale is less about a man’s relationship with a goat than how secret desires can sabotage even the most solid and coveted of domestic foundations. Sylvia is more than a goat; she’s an allegory representing change, questioning societal normality and what happens when it’s violated.

The set is an ultramodern living room tastefully but spartanly furnished. Designer Shawn Kerwin creates a stark, institutional feel (possibly foreshadowing Martin’s therapy group, a kind of AA for animal “lovers”). Almost everything is white – the chairs, crowded bookshelves with family photos and various chachkas - nearly all devoid of colour—only a few pieces of abstract art pop out of this monochromatic realm.

Four chairs face each other, surrounding a large metal table. An additional table and chair hold a model of a new building Martin is developing. Not surprisingly, Kerwin does double duty as Costume designer and gives Stevie the same sterile white pantsuit, reflecting her perfect yet unremarkable life. Martin is fashionably dressed in a grey and blue jacket and pants, while Ross is in conservative pants and a checked shirt, a stark contrast to the rebellious Billy in ripped jeans and a sleeveless tank top. Lighting designer Kaileigh Krysztofiak washes the stage in even light, avoiding shadows in each corner and providing effective spotlights on Stevie and Martin to usher in scene changes.

But it is the excellent acting company who carries the weight of this fulsome four-hander. Under their inspired director, this cast is fearless - thoroughly believable, focused, and invested in their respective characters. As Stevie, Lucy Peacock is marvellous! I’ve seen her perform since I was a teenager. She brings vitality, poise, and class to every role she embodies, and this is no exception. She effortlessly moves through a staggering trajectory of emotions from shock to laughter, rage to disbelief. All are rendered with such transcendent authenticity, so fresh that it’s hard to believe this is all deeply rehearsed. Her monologues are the backbone of the entire performance.

As Martin, Rick Roberts portrays a white middle-class success with a secret that will bring his world crashing down. He hits all the emotional marks as we witness his marriage implode. He works himself into a lather to justify the unjustifiable, confessing ultimate fulfilment in his relationship with Sylvia. However, some of his anger, frustration, and teary confession appear forced and unnatural. He gets a reprieve from his soul-wrenching breakdown at the play’s climax.

Martin and Stevie’s son Billy, impressively portrayed by Anthony Palermo in his Stratford debut, grapples with conflicted emotions as he navigates feelings of deceit, anger, and incestuous love. His heartfelt reactions to his father's dismissal of his homosexuality as a passing phase are palpable. Regrettably, his volume and energy did not consistently match the high standards set by his fellow cast members. Albee’s distinctive rapid-fire dialogue constantly engages the audience in pondering and assessing moral dilemmas. Slowing down the pace could diminish this impact. Hopefully, Palermo will steer clear of this potential pitfall as the production progresses.

Martin’s best friend Ross is affably portrayed by Matthew Kabwe. He gives a fine performance as an advisor and confidant. His reactions to Martin’s detailed confessions of his extra-marital barnyard affair are wonderful, handling disgust and disbelief with equal gusto. Kabwe has some lovely comedic moments that break the tension, “Martin, this is Sylvia? She’s a goat!” Too bad there weren’t a few more of these moments to quell Ross’s disbelief. He’s a fine comedian.

Hats off again to director Gabourie for his brilliant interpretation of one man’s fall from grace and the loving arms of his devoted wife due to his inexorable love for a goat.

The whole story seems ludicrous.

But that’s just at the surface; there’s so much more underneath.

Albee wants us to consider a situation so outlandish, so outside moral conventions, that it forces us to wonder and possibly re-evaluate what is comfortable and acceptable. Gabourie takes that message further, allowing us to draw the line and decide for ourselves the extent of our own acceptance and forgiveness.


Running time: Approx. 1 hour, 50 minutes with no intermission.

The production runs until September 29 at the Studio Theatre, 34 George St. East, Stratford. For tickets call the Box Office at 1-800-567-1600 or email www.stratfordfestival.ca

The Stratford Festival Presents Edward Albee’s
“The Goat or, Who is Sylvia?”
Directed by Dean Gabourie
Set and Costumes designer - Shawn Kerwin
Lighting designer - Kaileigh Krysztofiak
Sound designer - Adam Campbell
Fight and Intimacy Director – Anita Nittoly

Performers: Lucy Peacock, Rick Roberts, Matthew Kabwe, Anthony Palermo