VOICE CHOICE, MUST SEE

“Seeing Nick Green’s emotional wallop of a script for a third time still draws a tear. God bless original director Andrew Kushnir for being at the helm once again. This remarkable Theatre Aquarius cast tenderly discovers new levels of emotional connection between the audience, the story and the characters. A wonderful experience at the theatre. ‘Casey and Diana’ is another must-see.”

During this time when we are encouraged to choose Canadian, I urge each of you to choose to experience Nick Green’s inspiring ‘Casey and Diana.’

Why?

Some notable Canadian actors are now playing the characters compared to the Stratford and Soulpepper productions. The actors have discovered a more profound connection to the audience, the story, and the characters.

During the pre-show remarks, Theatre Aquarius Artistic Director Mary Frances Moore stated how she wanted ‘Casey and Diana’ to grace the stage of Theatre Aquarius. Hamiltonians - now is your chance to see a story that heartbreakingly acknowledges these brave individuals who valiantly fought, lost the battle, and/or continue to fight the struggle and stigma against AIDS.

Most importantly, the play also honours those who work tirelessly and selflessly to support those who continue to be affected directly or indirectly.

Bless them all.

The year is 1991. The setting is Toronto’s Casey House, established by a group of volunteers led by activist June Callwood. Casey House is a welcoming hospice where individuals can die with dignity and free from judgment while facing AIDS. Nurse Vera (Gloria Mampuya) works at the hospice, and volunteer Marjorie (Sharon Bajer) assists where needed.

News has spread that Princess Diana (Catherine Wreford) will visit on October 25. Patient Thomas (Gregory Prest) is thrilled that the princess will spend a few moments with each person.

The play opens in the present when Thomas is introduced to Diana. Through a series of flashbacks leading up to the present, the audience witnesses how the arrival of the People’s Princess briefly changed the lives of the Casey House residents and workers.

Thomas remembers how he and his estranged sister, Pauline (Alicia Johnston), watched the Royal Wedding of Charles and Diana. A new patient, Andre (Noah Beemer), arrives and shares a room with Thomas. Andre appears distressed upon his arrival at the hospice and is somewhat reluctant to converse with Thomas and the others for the present.

Designers Joshua Quinlan and Logan Raju Cracknell have created a comfortable and inviting hospice room. It’s bright. Their meticulous effort in crafting a realistic-looking set with natural lighting deserves commendation. Ashley Au has chosen some memorable 90s songs to enhance the pre-show soundscape as the audience enters the auditorium.

Under Kushnir’s tender and humane direction, this remarkable Theatre Aquarius cast uncovers new depths of emotional connection between the audience, the story, and the characters. In his Director’s Note, Andrew states that we are all grieving beings. How true that statement is.

Watching ‘Casey and Diana’ for the third time reveals that it’s okay to find laughter momentarily amid grief.

Gregory Prest delivers a bold performance of grit and determination as Thomas. My heart breaks for the man who knows what is happening to him physically. Additionally, the array of feelings Thomas experiences in estrangement with his emotionally dependent and overwrought sister Pauline (a spot-on Alicia Johnston) remains solidly palpable. Those moments of laughter when Prest quotes either from the film ‘Steel Magnolias’ or television’s ‘The Golden Girls’ still make me laugh even though I knew they would be coming up in the punchline delivery.

Noah Beemer is a sweet yet confused Andre who evokes profound personal heartache. Beemer’s Andre finds himself in a predicament—he is a young man still confronting many experiences in the world. He understands he needs his family because he fears the unknown ahead, much like Thomas. The phone call Andre longs to make to his mother further intensifies the young man’s personal agony. Beemer never overplays the dramatic moment as he sits in his wheelchair. His physical presence with the phone on his lap conveys everything, creating a haunting image I can still visualize.

Catherine Wreford’s Diana beautifully remains a calming presence, not just for Thomas but also for me personally. The moment when Wreford (as Diana) lovingly steps forward, without any fear, to hold Prest’s (Thomas) hand becomes stage magic for which all actors hope. The silent and kind gaze between Wreford and Prest sent shivers down my spine.

Gloria Mampuya plays Vera with a businesslike and no-nonsense demeanour. Mampuya’s Vera has responsibilities, and she carries them out effectively. However, Vera also possesses profound compassion, which is particularly evident during Pauline’s unexpected visit, which triggers a frenzied reaction from Thomas. Vera’s true nature shines brightly in the moment when she and Marjorie confront each other over something the volunteer likely shouldn’t have done. Mampuya’s controlled anger never veers into theatrics. They maintain complete control over their emotions. The calm, demure tone Mampuya employs in their response to Sharon Bajer speaks volumes.

The first time I saw Sharon Bajer as Majorie, I wanted to hug her. (The same thing occurred when I initially saw Linda Kash play the role.) Bajer’s Marjorie is precious. It’s evident that Bajer’s Marjorie has seen her fair share of sadness in her personal life and volunteer work at Casey House. But something keeps pulling Marjorie back to the residence and giving her time there.

What keeps pulling her back? It’s knowing she is making a difference, even if it’s just for one person.

That one person is Andre.

The growing trust between Andre and Marjorie is moving. Beemer and Bajer are fully engaged and genuine in their reactions to one another. For that very reason, I felt tears in my eyes during the second act at an unforgettable and believable human moment that sincerely touched my heart.

I kept going back and forth, wondering whether I should give this play a VOICE CHOICE, MUST SEE label.

This terrific Theatre Aquarius company deserves it once again—additionally, a heartfelt thanks to original director Andrew Kushnir for leading the way once more.

Why the label?

I haven’t grown tired of watching the play. If anything, the messages of compassion, empathy, and understanding have deepened even further, thanks to Kushnir’s ongoing involvement with the project and a cast that finds heightened emotional connections.

See ‘Casey and Diana.’

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

‘Casey and Diana’ runs until March 8 at Theatre Aquarius, 190 King William Street, Hamilton. For tickets: theatreaquarius.org or call (905) 522-7529.

Originally commissioned by the Stratford Festival.

THEATRE AQUARIUS in co-production with THE ROYAL MANITOBA THEATRE CENTRE present
‘CASEY AND DIANA’ by Nick Green
Director: Andrew Kushnir
Set and Costumes: Joshua Quinlan
Lighting: Logan Raju Cracknell
Composer and Sound: Ashley Au
Stage Manager: Michael Hart

Performers: Sharon Bajer, Noah Beemer, Alicia Johnston, Gloria Mampuya, Gregory Prest, Catherine Wreford.