The Firehall Arts Centre is a beautifully unique venue which has hosted a plentiful number of wonderful productions. It provides audiences with incredibly skilled and trained artists of all sorts. I have always found it amazing how, which ever production it may be, manages to maximize a small space and transform it into a large, fantastical world- which is certainly the case with “Reflections on Crooked Walking.”
This is a phenomenal production. As mentioned, the use of the somewhat minimal space is executed so well. As the audience is taken from one bit of the seemingly endless forest to the next, it truly feels as if you are being transported from one significant area to another. The lighting and staging of the scenes transferences make a distinct note of another acre’s area emerging despite the scenery remaining the same. They have managed to make a similar and intimate setting seem incompatible with the previous.
The playwright (Ann Mortifee) has written a truly witty and fine piece of theatre. From the fun and dynamic literation and the incredible expression of imagination, “Reflections on Crooked Walking” is one of the most unique, bizarre and diverse productions I have ever experienced. The music matches the characters so well and it certainly has an array of samplings. With a use of a small band, the music provides several different intriguing sounds. From near classic Broadway, simplistic piano, 1980’s synthesizer and almost anything in between. The music and sounds are performed with great poignancy and never leaves a dull moment.
The show begins with two incredibly strong talents; Opia (Mehgan Gardiner) who plays the antagonist and Doorman (Jesse Lipscombe) whom plays our guiding hero for the quartet in which tell the tale in the lost woods beyond their familiar town. After Opia dispenses a spell which causes all townspeople to become comatose in an endless slumber, we are introduced to our guiding character through the story; Gabby (Paige Fraser) the happy-go-lucky voice of joy and determination through giddy confidence. Fraser does a phenomenal job of bolstering great energy and positivity even in moments of great doubt. And when she must herself, express such doubt as the story complicates, she expresses those moments so well and expresses such a fantastic change of character. It becomes apparent and clear of the complications she is experiencing, all due to the terrific performance of Fraser. The writing with her character is hilarious. The literation used with her comical and swift delivery are perfectly matched with the energy of her character. She is met by three other strong performers as they set out to find the clues to the cure in the mysterious forest.
My personal favourite character is Reverend Blinkers, played by Anthony F. Ingram. My goodness, does this man deliver an amazing performance. Costumed by Barbara Clayden, he appears in fine garment as a stately reverend (I thought to be the best costume in the show). With fine pronunciation and the rolling of his “R’s”, he delivers an exemplary performance as a character whom at first is pertained as pompous and a bit off-putting but develops into a loveable soul and one that you want to see reappear. You truly see a functional change within his own life as the character. A brilliant actor and so well portrayed by Ingram.
Feathertoes (Marija Danyluk) is a great character written into the show who I believe goes through the furthest story arch within the production. Danyluk truly expresses the changes within her existence of the production. Danyluk has a fantastic comedic delivery. She delivers her lines as naturally as you can hope for and are always spot on, poignant and well placed and spaced. She flows about the stage with a natural yet powerful and graceful presence. Bravo!
Sufferton (Frankie Cottrell) can be a tad annoying. Yes, it is the point of his character, but the constant whining becomes quite unbearable after a while. As well, Cottrell delivers the weakest performance of the principal roles. I found him shouting more than singing. A strong effort but unfortunately the performance falls a tad short in comparison to the others. A special shout out to Ben Brown who plays cameo roles as a townsperson and a florist. I wish I could whistle as finely as he can.
The band is incredible. They have managed to encompass several sounds in a diverse show, and they create excitement within every scene change. They have managed to make every transition smooth, flawless and continuous. This is a credit to the actors and stagehands involved. Bill Costin runs the brigade as the musical director and is gifted with such skilled artists such as Jason De Couto (Second Keyboardist), Buff Allen (Pocussion), Rene Worst (Bass). A wonderful band. Bravissimo! Luara Ross is the choreographer and does a beautiful and fluent job with this show. The choreography covers the entire stage and utilizes the surroundings and has a beautiful consistent flow. As does our puppeteer, Stephanie Elgersma, who has created amazing costumes and puppeteer work which are executed divinely by the actors involved. Fair warning, if you’re an arachnophobe, you may need to close your eyes. Opia and Doorman are terrific guides through the story. They influence every turn and every choice and are powerful performers. They initialize the story. Both with absolutely beautiful voices that draw you into the fantastical tale immediately.
“Reflections on Crooked Walking” is one of my favourite shows I have seen in 2024. The creativity of the show and writing and music within the exemplary acting and singing, I strongly recommend coming to see this unique and wonderfully performed version of “Reflections on Crooked Walking.” The show runs until December 20th at the Firehall Arts Centre found at 280 East Cordova Street. Tickets
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