Toronto Review: 'Watching Glory Die' is both compelling and difficult at times to experience at Grand Canyon Theatre
Joe Szekeres, Chief Toronto Critic
The Junction in Toronto is a part of the city of which I know very little so I’m curious to see where some indie theatre companies have set up shop.
A brief cab ride from the Bloor GO/Union-Pearson Airport train brought me to the intimate black box Grand Canyon Theatre which, on the outside, appeared previously to be a garage for car repairs. Given the fact that arts funding has been cut provincially, I applaud indie theatres for setting up shop wherever they can to ensure residents can see quality theatre.
Oh, by the way, this opening night production of Judith Thompson’s ‘Watching Glory Die’ was well worth the trip for me. I experienced a highly professional production with three solid performers for whom I will keep an eye out in the future.
A bit of researched background first to understand the context of Ms. Thompson’s script. It is the uncomfortably disturbing story inspired by the life and death of nineteen-year-old Ashley Smith who, in 2007, choked herself to death in a jail cell at Ontario’s Grand Valley Institution while security guards were looking on through video monitors. Ms. Smith was under suicide watch at the time. In the world premiere of the play in Vancouver, 2014, Ms. Thompson played all three roles under direction by Ken Gass. I can only imagine it must have been rather exciting for the playwright to premiere her own work under a renowned direction by one of Canada’s most respected artists.
Kendra Jones who directed this decent production made a wise choice for audiences to watch three talented ladies instead tackle subject material that, at times, is blunt, violent, harsh and harrowing to watch. In her Director’s Note, she wrote: “This story is one of grief and of loneliness. But it is also one of interconnectedness [as] it highlights how our lives are inextricably linked with those of others…” Casting three people allowed me to see the physical and emotional links in the three performances to each other. To watch a seamless transition from one character to the next never allowed the pacing to slow down whatsoever.
And it also made for compelling theatrical drama for me.
It’s a bare stage upon entrance to the Grand Canyon. There is fabric on the floor which is in a bowtie shape. I wasn’t certain if there is any significance behind this. Someone pointed out to me that it is to become Glory’s ligature at the end of the play, and it makes complete sense to me when it was pointed out. Sebastian Quinn Hoodless’ Lighting Design and John Norman’s Sound Design during the preshow seized my attention with brightly focused spotlights and ethereally haunting low underscoring of music which suggested I was entering a place which made me uncomfortable. That was certainly the point here.
From the title of the play, it’s obvious what is going to happen to Glory (bravely and naturally performed by Kaitlin Race). We learn Glory is first sent to a youth facility for throwing an apple at a postal worker who behaved in a mean and unkind way. This event turns into an incarceration for Glory for what seems forever as she moves from juvenile detention to prison, sometimes with weeks and months in solitary confinement or what is called, in this play ‘therapeutic quiet’.
We see two others who play a tremendous influence in Glory’s life up to her eventual death - prison guard Gail (a tough as nails Pip Dwyer who, mercifully, shows compassion for Glory) and Rosellen, Glory’s mother (an intuitively passionate portrayal by Jennifer McEwen).
These three ladies never ventured over the top in emotional conveyance and delivery at all, and I was pleased to see that Director Kendra Jones ensured that would occur. Heightened moments of tension were beautifully staged while one person spoke and the other two remained in complete intensity and focus without any upstaging at all. Several incorporation of tableaux moments remain with me today as I write this review, one of which is the show’s promotional photo above.
FINAL COMMENT: An upsetting play to watch at times, and Ms. Jones acknowledged this fact before the performance began. Nevertheless, Judith Thompson’s story shockingly reminded me of the urgent need to deal with the treatment of the mentally ill who are imprisoned and whose stories tragically end like Glory’s and like Ashley Smith’s.
This ‘Watching Glory Die’ is powerfully moving with resonating performances that remained with me long after the curtain call. I look forward to more from Love2 Theatre Co. and Impel Theatre.
‘Watching Glory Die’ continues February 20, 21, 22, 26, 27, 28 and 29 at 8 pm with a 2 pm matinee on February 23. All performances take place at the Grand Canyon Theatre, 2 Osler Street, Toronto. Tickets may be purchased at the box office (Cash only) or www.WatchingGloryDie.BPT.me.
Running Time: approximately 75 minutes with no intermission.
Photo of the Cast provided courtesy of Love2Theatre Company.
Producers: Breanna Dillon, Jennifer McEwen Dysart, Kaitlin Race; Director: Kendra Jones; Lighting Designer: Sebastian Quinn Hoodless; Sound Designer: John Norman; Stage Manager: Marvin Araneta
Cast: Pip Dwyer as Gail; Jennifer McEwen as Rosellen; Kaitlin Race as Glory