“The theatre industry is in good hands as the talent from George Brown’s Third Year class demonstrates in ‘Ivona’.”

Classified as an absurdist fairy tale, ‘Ivona, Princess of Burgundy’ follows the story of King Ignatius (Parsa Hassanzadeh) and Queen Margaret (Diana Eremeeva) and the royal court's upper-class lives. The story is set in a time of lavish decadence. The King and Queen demand their son, Prince Philip (James Gibson-Bray), find a wife to be his future queen. In a petulant act of rebellion against his parents (as young people often do), the Prince goes on the prowl. He chooses Ivona (Hannah Cheetham), a silent, clumsy and almost catatonic young woman, unlike the kind of woman a princely prince would select.

Ivona’s abnormality in how she doesn’t react to things, walks, sits, and stands drives the courtiers and the Prince’s parents bonkers. They ridicule and tease Ivona aggressively at times, but she does not respond in kind to their actions. It’s interesting how Ivona provokes the worst in others by remaining true to herself.

Gombrowicz’s script is undeniably challenging, reflecting the undertones of the play's era. Krystyna Griffith-Jones’ translation is dense, and you must pay close attention to the dialogue. It’s easy to get lost if you’re not following along. The first act is full of fun and laughter, while the second does a complete 180 and becomes dark and grim amid the comic element. Absurdist elements abound in both the first and second acts.

The playwright completed the script in 1933 and published it in 1938, shortly before German troops invaded Poland. Gombrowicz was critical of the upper class. In director Nicole Wilson’s program note, she wrote that the playwright expressed a sense of a secret flaw within himself, feeling that he was perpetually “outside the human herd.”

Wilson’s vision of this absurdist tale is to be applauded.

She makes some conscious choices with her creative team to ensure authenticity.

This is certainly evident in Maria Kofman’s costume designs. They are beautiful re-creations of a royal court from the 1700s. Little details of each character’s wig and pasty white make-up, right down to the stockings they wore, become a fashionista sight to behold. Jackie Chau’s minimal set design at the top of the first act (underscored by Sound Designer Scott Banks’ selection of appropriate music from the era of the 1700s) certainly catches the eye upon walking into the auditorium. I loved the scrim upstage, from which many characters make their entrances and exits. Chau cleverly has the actors pull out various set pieces in the second scene of Act One with nary a squeak. These pieces magically glide into place and are then returned by the actors with grace, elegance and style. I’m sure there was probably some rehearsal to ensure these pieces slide effortlessly. Emma Presello’s lighting design effectively accentuates the mood of each scene.

Nicole Wilson directs the production with a clear understanding of the absurd. With this goal in mind, the actors never veer out of control in their reactions.

Just before the performance begins, Iza Rincón’s Beggar woman comes into the audience carrying a sign and looking for handouts, beginning the element of the absurd. This comic bit reveals that we have entered a world of haves and have-nots. (It sounds so much like our current world.) Rincón says very little, but her interplay with the audience as she looks for money is funny. All the while, she remains in character while eyeing each of us. Some gave money to her.

The ensemble of courtiers fastidiously represents the world of the court and how it becomes an envious place to be seen. Several ladies develop little mannerisms of coyly giggling to priming themselves to see if a man is around.

As the King and Queen Parsa Hassanzadeh and Diana Eremeeva remain continuously explosive when they don’t understand what is happening with their son’s choices. The comical interplay between the two in Act One is fun to watch. They never upstage each other, which is good. Hassanzadeh is quite good at improvisation when it appears his crown does not fit appropriately on his head. He runs with it and makes a joke for the actors and the audience to enjoy without taking us out of the moment. As their son, Philip, James Gibson-Bray is childish and petulant at first in wanting to disobey his parents in the first act.

Hannah Cheetham’s Ivona is quite strong in portraying the mute and clumsy Ivona. I must applaud at one point when loud noises are made around Cheetham. She doesn’t flinch at all. She remains focused and in character. Very impressive. There were a couple of times when I thought Cheetham’s work on stage reminded me a great deal of Patty Duke’s work as Helen Keller in ‘The Miracle Worker.’ ValYa Budko and Kate Truong are wonderfully saucy as the two aunts who bring Ivona to meet Prince Philip. Cameron Cope’s Lord Chamberlain is dutiful to King Ignatius. Aaron Ford’s servant Checkers reminds me of the comic relief in Shakespearean tragedies.

Like good teachers who continually find ways to learn more about reaching students and young people, actors must continue to challenge themselves and reach out to appeal to audiences' varied tastes.

The third-year performance class from George Brown showcases how the theatre industry remains in good hands.

Running time: approximately two hours and ten minutes with one intermission.

The production runs April 10, 12, 16 and 18 at 7:30 pm with a performance on April 19 at 1:30 pm. All performances take place in the Young Centre for the Performing Arts, 50 Tank House Lane, in the Distillery District.

For tickets: tickets.youngcentre.ca.

George Brown Theatre School, Third Year Class presents
‘Ivona, Princess of Burgundy’ by Witold Gombrowicz, translated by Krystyna Griffith-Jones

Directed by Nicole Wilson
Stage Manager: Sarah O’Brien
Set Design: Jackie Chau
Costume Designer: Maria Kofman
Sound Designer: Scott Banks
Lighting Designer: Emma Presello
Assistant Director: Adrian Marchesano

Performers: Aliyah Bourgeault, Hannah Cheetham, Madelyn Colantoni, Cameron Cope, ValYa Budko, John Daniel, Diana Eremeeva, Juan-Carlos Figueroa, Aaron Ford, Andi Garcia, James Gibson-Bray, Parsa Hassanzadeh, Charles Hunte, Kieran Jensen, GianPaulo Lattanzio, Emmet Logue, Julia Middleton, Julie Pearson, Iza Rincón, Morgan Roy, Mila Trichilo, Kate Truong, Gaby Villamizar, Alice Wu