Morgan, a tough-minded, stubborn man, cares for Angus, who has had brain damage and lost his memory during the bombing of London in the Second World War. Morgan calms and reassures Angus by retelling their story - of the two tall women whom they loved, and who came to live with them in Canada.
Artists enter a community, research a theme and invent works that speak to and about the specific group on which they are based.
Miles overhears it one evening and decides to appropriate it for his troupe's show. Late that same night Scene seven: But there's little attempt in Yu's furnishings or costumes to remind us that we're in the early seventies.
The delight that audiences had in hearing and observing their own language and culture was unexpected, and the production proved highly successful.
Story continues below advertisement The two men are also canny choices for another reason: The two farmers in this play, lifelong friends and partners who depend solely on each other, lead isolated lives where storytelling is the best remedy for what ails them. But Morgan, instead of being happy, is enraged — for reasons that, we eventually learn, go beyond Miles's use of the story without his permission.
Our memory is our coherence, our reason, our feeling, even our action.
And when memory fails us, we must rely on the recollection of others to fill in the gaps in our own stories. Eleanor Rhode, who previously directed Healey's Generous at this address, gets good performances from Simon Lee Phillips as the cack-handed actor, Neil McCaul as the pragmatic Morgan, and an intensely moving one from John Bett as the shuffling, bewildered Angus.
But theatre can also hold up a distorted mirror, and Act 2 dips into darker waters, dealing with the rewriting and romanticizing of the past to cover up ugly realities.
This production is produced by agreement with Mirvish Productions, Toronto. When the truth starts to dawn on him, he howls in anguish and clutches his head in convincing pain. Ina group of young actors from Toronto embarked on a project where they went off to study an Ontario farming community. Hughes has the ability to move an audience to tears by changing the pitch of his voice.
Collective creation attempts to engage audience members by sparking a dialogue on current events. The next day Scene two: For example, the audience only learns of Angus memory loss after the effects of the memory loss are shown.
Photos courtesy of Theatre Passe Muraille. Miles is in effect the "drawer boy," delineating and creating an alternative reality. The next morning Scene three: Realist conventions of acting come to play an important role in bringing about Angus' cure.
And here's the most beautiful part: However, the city boy knows nothing about typical workaday farming tasks, such as driving a tractor, milking cows, putting up hay or gathering eggs.
While The Drawer Boy is a play concerned with, and rooted in, the past, Aquino's rewarding revival belongs very much to the here and now.
The Drawer Boy continues to March 25 (elonghornsales.com). Forty years ago, a Toronto company created a devised play by sending a group of actors to live and work on farms in Ontario.
That experience, a landmark in Canadian theatre, was the starting point. The Art of Violence: Healey’s Character Representation in The Drawer Boy Reviewed by Word Press critic Michael Dykstra, the Canadian play The Drawer Boy, by Michael Healey, has been suggested to be a play containing “no violence” (Dykstra); however, this conclusion deserves further analysis.
'The Drawer Boy' was first produced in and has justifiably won many plaudits both in Canada and America, for its gentle evocation of the friendship and burden of care between Morgan and Angus.
4 days ago · Arturo Pérez Torres and Aviva Armour-Ostroff’s first narrative feature THE DRAWER BOY is based on Michael Healey’s Governor General’s Literary Award winning play. Mar 14, · “The Drawer Boy” by Michael Healey looks in on the lives of two aging friends who share a farmhouse in the Canadian countryside, and a .The drawer boy