Talisman TheatreIt’s a terrible thing to watch a mind go to waste. Yet Pierre-Michel Tremblay’s Coma Unplugged makes it so infectiously fun. Talisman Theatre’s latest production is proof that when you mix a sharply written script with a cast whose energy knows no bounds, magic occurs.
The play, translated into English by Micheline Chevrier and directed by Zach Fraser, is set somewhere in a no-man’s-land between the protagonist’s apartment and his psychosis-fuelled imagination. Daniel (Eloi ArchamBaudoin) is a recent divorcee, and is therefore “coping.” Thanks to his particular mixture of child-like hyperactivity and a pensioner’s cynicism, watching him cope is particularly uproarious. Characters materialize and vanish from the creatively porous set just as flights of imagination do in a mind, and the audience is never really sure what, if anything, is grounded in reality. Is Marjorie (Glenda Braganza) really the antagonizing ex-wife coming over to berate Daniel, or is she that even bigger nag, his own guilty conscience?
This is a question that Tremblay’s zany yet contemplative script only hints at answering. Much of the show is a whirlwind of one-liners and off-kilter humour, with room even for a guest-starring role by Stephen Hawking, who imparts some timely wisdom: “It’s more important to be comical than astronomical.” It’s advice not to be taken lightly, since the script is strongest and most effective when it sticks to humour and humanity, and not during its occasional strays into socio-historical commentary. Kudos, however, to Chevrier, for the unenviable task of translating the plethora of cultural references to a non-Quebecois audience, and doing so effectively.
The script also served ArchamBaudoin particularly well. From his twitching, writhing entrance, ArchamBaudoin took to his role with electrifying animation and eclectic physicality, crafting an endearing sentiment out of a character that would have inspired mild annoyance in the hands of a less skilled actor. As Daniel’s inner warrior Ishouad, Chimwemwe Miller also had particularly effective moments of well-timed and well-executed physical comedy. Donovan Reiter, as macho-man Roger, had the best delivery, with full-bodied articulation that didn’t step on the subtleties.
Regrettably, the play’s frenzied pace was not sustained for the entire duration, which was particularly noticeable during the scene with Daniel’s mother, Madeleine (Susan Glover). Glover’s performance was formidable, but did not rise to an energy level on par with that of the rest of the cast. On the other hand, the rapidity with which the play moved meant that not everything worked perfectly; at the performance I attended a woman was intimately introduced to a projectile prop. The first third of the script also relied heavily upon repetition for humour, to diminished effect.
The technical aspects, led by Kaileigh Krysztofiak, showcased impressive talent and creativity, especially in consideration of the intimate space available. Matthew Waddell’s sound design displayed an appropriate variety and was crucial in conveying the narrative. Lyne Paquette’s set design was eclectic yet functional, and provided ample opportunities for humourous entrances and exits. David Perreault Ninacs’ lighting, although the small space didn’t lend itself well to subtlety, was both dynamic and effective.
Coma Unplugged makes the most out of its discombobulation. The voyage through Daniel’s fracturing mind is one fraught with side-splitting laughter and deep introspection: in other words, a perfect night out.
Coma Unplugged runs until Oct. 29 at Talisman Theatre, 4750 Henri-Julien. Visit www.talisman-theatre.com for more information.
