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Heist

Now on stage at London Ontario's Grand Theatre

Credit: Dahlia Katz

Joe Szekeres

Criminally good fun. Let yourselves be swept away by the immersion and the immediacy of the moment in ‘Heist.’

Arun Lakra’s Ontario premiere of ‘Heist’ now on stage at London’s Grand Theatre asks purists of the theatre to consider:

“Am I watching a play, or am I watching a film?”

I find this question not even worth asking.

"Heist" is an exhilarating thrill ride of a play revolving around a diamond and a ruby. It kept me on the edge of my seat.

It works. Don't get bogged down in wondering if what you're watching is film or theatre.

By combining theatre and cinema, the production offers something we desire during the chilly winter months: a captivating story filled with intrigue and suspense. I’m rather impressed by what these actors accomplished with lasers and acrobatics on stage.

The theatre is still navigating its path forward in a post-pandemic world. Therefore, it is essential to embrace the successful blending of film and theatre, especially as the latter seeks to regain its footing.

Lakra’s script adheres to the standard conventions of the genre. There are tense, albeit unrealistic, moments where characters are just seconds away from being discovered while engaging in activities they shouldn’t be doing. Surprise double-dealings are also part of the game.

Any heist film geek should love this.

Visually, the production is eye-popping thanks to Beyata Hackborn’s futuristic-looking set design. Corwin Ferguson's video designs feature stunning exterior shots captured by a drone that showcase the impressive New York skyline. He projects credits typically found at the beginning of some feature films, and these same credits reappear at the end. Along with Richard Feren's excellent sound design and Siobhán Sleath’s precise lighting design, there is a specific moment involving the character Angie that reminds me of Tom Cruise in ‘Mission: Impossible.’

Initially, that moment made me roll my eyes. However, upon reflection, I wonder if the creative team led by director Haysam Kadri are paying homage to Cruise by creating a moment that is magnificently executed live on stage.

I hope they are.

Haysam Kadri’s detailed direction of an energetic and lively ensemble cast remains one of the highlights. He’s strongly captured a sense of immersive creative fun that spills right into the audience.

I don't care whether this next part is true or not. I learned about those involved in the world of heist intrigue—they see each other as family, often an eclectic mix of characters. Each member of the heist has a nickname that reflects his or her unique personality. To share those nicknames here would spoil the fun of finding out for yourself live, so I will leave it there and have future audiences find out for themselves.
Throughout the production, Lakra’s script takes several twists. For instance, there is a buildup to a suspenseful moment when suddenly, the events take a turn, and we might be taken back three weeks later.

You must pay attention because it can get confusing.

Now, while some ‘heist’ aficionados may anticipate certain twists, I find myself fully engaged in the plot, no matter how unrealistic it may be. I simply let the story unfold as it progresses.

That’s the point of a good heist story. To feel the immediacy of being duped. I found myself smiling in the second act because I got suckered in. Because, by being suckered in, the plot begins to make sense.

Remember that it’s all good fun as Lakra finds those bits of humour that made me laugh out loud—the price of Taylor Swift tickets, being one.

This ‘family’ of accomplices all consider themselves actors and would like to brush up on that skill. In acting, one plays a part. When you are a crook and you want to deceive someone, you play a part. However, and I’m trying not to give away the plot, this ‘playing a part’ deliciously unravels in the Second Act. I never saw it coming, and again the unexpected deceptions caught me off guard.

Led by the Irish guy boss, Marvin (Devin Mackinnon), his ‘family’ of accomplices includes the suave-talking second in command, Ryan (Callan McKenna Potter), the tautly lithe and attractive Angie (Gillian Moon), the whip-smart computer geek Fiona (Priya Narine), and the goofy, buffoon loudmouth Kruger (Emilio Vieira). They each have their quarrels, arguments and secrets from each other. There’s lying and cheating.

Added to this mixture of oddball criminals is sultry and sexy Belinda Cornish, known as The Spider. Cornish captivates with her European accent and slinky struts across the stage as she manages to get what she wants, especially from this team who have come together for one final job.

And it looks as if they’re all having a hell of a good time telling a first-rate story and performing it with great aplomb.

I’m not one for spoilers, but there’s one I will have to share.

Just this past summer, I had the chance to speak with Arun in Gananoque and see the Thousand Islands Playhouse production of his play ‘Sequence.’

He told me ‘Heist’ is to be continued.

And I, for one, am pleased to say I’ll be back.

Running time: 115 minutes with one twenty-minute interval/intermission.

‘Heist’ runs until February 1 at London’s Grand Theatre on the Spriet Stage. For tickets: grandtheatre.com or call the Box Office (519) 672-8800.

THE GRAND THEATRE in co-production with THE CITADEL THEATRE present
‘Heist’ by Arun Lakra

Directed by Haysam Kadri
Set Designer: Beyata Hackborn
Costume Designer: Jessica Oostergo
Lighting Designer: Siobhán Sleath
Projection/Video Designer: Corwin Ferguson
Stage Manager: Sang Sang Lee

Performers: Belinda Cornish, Devin MacKinnon, Callan McKenna Potter, Gillian Moon, Priya Narine, Emilio Vieira.

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