Toronto Review: 'Brain Storm' at Dancemakers Studio Theatre
· Joe Szekeres, Chief Toronto Critic
This was a first for me at this opening night of ‘Brainstorm’. We were told it is a relaxed performance where the audience was free to come and go if warranted. The programme stated that all performances will be relaxed.
Given this ‘new’ environment for me, nevertheless, I wondered if audience members getting up and down from their seats would be bothersome?
Nobody did which I believe is a testament to this quite unique production of sight, sound and movement in ‘Brainstorm’. First off, the cast appeared onstage before the show began to introduce themselves and to say which character(s) they will play. Hmm. Ok. Because I was paying close attention to what the performers said, I just assumed their character names would have been in the programme. Nope – just listed as performer. A note for me next time to have a pen handy.
The press release detailed how writer/director Taliesin McEnaney drew on the work of Canadian neurosurgeon Dr. Wilder Penfield, the writings of her spiritual medium grandmother, and a brain injury in her own family to pen this uncommon script. I found this information intriguing to see how a story could incorporate all three of these elements. For the first couple of minutes once the play started, I was perplexed by what I was seeing with the movement of the actors.
And then, the following important information from Ms. McEnaney clarified what this opening night production boldly accomplished. I had my epiphany regarding ‘Brainstorm’:
“Those living with brain injury know that the linear narrative of a triumphant journey of recovery is often not available…[this production] does not give us a comforting narrative arc, but provides us with the tools to explore something that defies explanation…We ask audiences to approach [this play] as both surgeon and patient…[with] curiosity combined with vulnerability… to allow oneself to be explored and even prodded through the process.
Will Bezek’s nearly bare stage set design evoked a great deal in its sparseness. Four white hospital screens on wheels lined the back of the auditorium. These screens were easily moved around by the actors. Three of out of the four performers wore long hospital lab coats from the turn of the century along wit the head covering. Melissa Joakim’s lighting design sharply focused my attention on various places of the stage. Olivia Shortt’s composition and sound design finely underscored the required tension necessary to sustain my interest in the plot.
Ms. McEaney’s compassionate direction of those individuals, specifically Kate (Shayna Virginillo), who are living with a brain injury confidently moves the plot forward with this exacting ensemble cast who moved me across an emotional spectrum from amusement and laughter (the subway car staging is clever indeed) to tears, most notably in the hospital scene and in Kate’s aftermath of trying to move forward in her recovery. As someone who had a hospital stay for a cancer diagnosis and recovery, this cast used stylized theatrical techniques of tableaux, silence and movement to remind me as well that recovery is not linear and comforting as McEnaney stated earlier. Instead, sometimes through the occasional smile (thanks to Alexandra Montagnese’s solid performance as Kate’s friend who made me laugh in spite of the fear Kate was feeling) and the tear in the corner of my eye, I recognized my own vulnerability over ten years ago and realized just how far I had come in my recovery as Kate will in hers.
The press release also stated the play also examines whether our brains are magic, machines or both. As I thought about this idea on the train ride home, I realized just how much none of us really knows how powerful the human brain truly is and what it is capable of being and producing. The press release also stated the play also examines whether our brains are magic, machines or both. This statement has been strikingly captured in Melissa Joakim’s very fine projection designs as Kate learns to re-focus her own mind once again to accomplish daily tasks such as recalling letters and numbers. The final moment of the production left me with such hope for all who have suffered any kind of severe injury, and the work they go through to return to what will become a new normal for all involved and not just the single individual.
FINAL COMMENTS: ‘Brainstorm’ is an inspiring visual stimulation presented by an exciting ensemble cast which led me to appreciate even more how much of a gift life truly is. At times, moving and poignant.
Production runs approximately 75 minutes with no intermission
Photo Left to right: Shayna Virginillo, Hayley Carr, Maïza Dubhé, Alexandra Montagnese courtesy of Dahlia Katz
BRAINSTORM
Produced by Lucid Ludic in association with Why Not Theatre
Written & Directed by Taliesin McEnaney with writings by Claire Ward. Co-created by and featuring Hayley Carr, Maiza Dubhe, Alexandra Montagnese and Shayna Virginillo.
Runs to March 8 at Dancemakers Studio Theatre, 9 Trinity Lane, 3RD floor in Toronto’s Historic Distillery District. For further information, visit https://whynot.theatre/work/brain-storm/ Tickets may also be purchased at the door or call (647) 948-9615.
Stage Manager: Tara Mohan; Production Manager: Suzie Balogh; Associate Producer: Annie Clarke; Dramaturg: Jessica Watkin; Brain Injury Consultant and Dramaturg: Shreen Jeejeebhoy
Follow me on Twitter and Instagram: @SzekeresJoe.