Montreal Review: "Paradise Lost" at The Centaur Theatre
Joe Szekeres, Chief Toronto Critic
The press release states this production of Paradise Lost “turns heaven and hell upside down in this witty, modern and feminist reimaging of John Milton’s account of the first battle between evil and good.” During my undergrad years, I slogged my way through Milton’s epic poem and wondered if I would ever get through the darned, lengthy thing. For some unapparent reason, I can still recall the last few lines of the poem: “The world was all before them, where to choose/Their place of rest, and Providence their guide:/They hand in hand, with wandering steps and slow,/Through Eden took their solitary way.”
I always feel sad and lonely when I read this ending as it appears Adam and Eve are on their own even though the angel is there to guide them.
Well, the opening night production of Erin Shields’ ‘Paradise Lost’ at Montreal’s Centaur Theatre did not leave me with any feelings of sadness or loneliness. The press release was bang on at this opening night since Ms. Shields’ re-imagined tale is certainly most witty at times. I became re-interested in this story for the fact it has been set in a modern era.
And, thankfully, Lucy Peacock reprises her Stratford role as the deliciously and dastardly Satan. Qasim Khan and Amelia Sargisson also return as Adam and Eve. Eight other fine cast members were selected for the Montreal run. I did not see this production at Stratford in 2018 and did not want to miss it this time.
I’m glad I didn’t. This production makes me want to tackle Milton’s epic poem again.
The design and look at the top of the show arrested my attention when I sat down and looked closely at the stage. Thomas Ryder Payne’s ethereal and eerie selection of soundscape music brought me out from the cold Montreal night from which I came. Bonnie Beecher’s soft lighting design set up some interesting playing spaces. Judith Bowden’s set design filled the stage. There appears to be centre stage a massive pile of dress shirts from which objects are pulled out during the performance. Two dress shirts are strung high up in the fly space. A split-level staircase opens on a second level. A ladder with rungs is positioned in such a way that actors will be able to use it to climb up.
Under Jackie Maxwell’s clearly nuanced direction, this eleven-member cast elegantly maintains the poetry of the blank verse dialogue. Ms. Peacock becomes a personable and suavely debonair Satan who breaks the fourth wall to talk to us periodically. As I watched and listened to her last night, I kept thinking how much fun she was having in just playing a bad girl this time round.
Amelia Sargisson and Qasim Khan are splendidly seductive in their performances as the first man and woman from Genesis. I especially liked seeing and hearing their character growth from naïve children to world weary and hardened individuals who must now carry forth in their worldly toils for disobeying what God has told them to do. I was completely focused with the temptation scene in the garden between Ms. Peacock (who hissed her ‘s’ sounds) and the confused Eve who doesn’t want to break her promise to God but possibly sees that no harm could come to her. The confrontation between Ms. Sargisson and Mr. Khan after the temptation scene explodes with grand emotional intensity as the two begin to realize what their actions will truly cost them in the end. I also applaud Ms. Sargisson and Mr. Khan for the choice they make to appear ‘au naturel’ in front of a full house. It is a bit shocking to see when it happens, but it is a fitting one in the context of the story.
The eight performers who were cast for this Montreal run are solid actors who nicely assist in maintaining the poetic dignity of the story while providing laughter throughout. The play within a play ‘Fall from Grace’ in front of Adam and Eve at the top of the second act grabbed my attention back to the plot’s action. Marcel Jeannin and Gabriel Lemire as God the Father and God the Son quietly exude an intensity of inner strength of two persons in one that I bought immediately. As overbearing mother, Sin (Julie Tamiko Manning) and put-upon son, Death (Jake Wilkinson), the comic timing between the two was succinctly matched. Patrick Abellard’s archangel Michael provided some comic relief in the ‘play within a play’ of Act 2. Mr. Abellard’s silence at the end of Act 2 as he leads Adam and Eve through the auditorium out from Eden is noteworthy. Rebecca Gibian, Alain Goulem and Michelle Rambharose round out the cast in supporting roles of angels and demons.
Eda Holmes in her Programme Note hopes that a story such as ‘Paradise Lost’ will help to “build a bridge which explore our hearts and hopefully open our minds to affirm our collective humanity.” As a practicing Roman Catholic, I heartily support Ms. Holmes’ comment as this production explores the sometimes doubts and temptations all people of faith encounter in their journeys.
Running Time: 2 hours and 40 minutes with one 20-minute intermission.
PARADISE LOST by Erin Shields
A theatrical adaptation of John Milton’s Paradise Lost
The production runs to February 2, 2020 at Montreal’s Centaur Theatre, 453 St. Francois-Xavier. For ticket reservations, please call 514-288-3161. For further information, please visit centaurtheatre.com.
Director: Jackie Maxwell; Designer: Judith Bowden; Lighting Designer: Bonnie Beecher; Sound Designer and Composer: Thomas Ryder Payne; Movement Director: Valerie Moore; Fight Director: John Stead; Dramaturg: Bob White; Stage Manager: Luciana Burcheri;
The Cast: Lucy Peacock, Amelia Sargisson, Qasim Khan, Patrick Emmanuel Abellard, Rebecca Gibian, Alain Goulem, Marcel Jeannin, Gabriel Lemire, Michelle Rambharose, Julie Tamiko Manning, Jake Wilkinson
Photo: Lucy Peacock as Satan with demons Alain Goulem, Patrick Emmanuelle Abellard, Rebecca Gibian, Jake Wilkinson, Julie Tamiko Manning. Credit: Andree Lanthier