the baroness and the pig’s education story should’ve been held back
Directed by Selma Dimitrijevic.
Until October 6, at the Jackie Maxwell Studio Theater, the Queen\'s Parade in Niagara-10 --on-the-Lake. ShawFest. com or 905-468-2172.
The two women crossed racial, educational and social boundaries and formed a strong friendship that gave them the strength to repeat sexual assault and precise retaliation --
On paper, 1998 plays by Montreal playwright Michael McKenzie, Baroness and pig, are the most timely works of the 2018 Shaw Festival season (
If you can forgive this unfortunate title).
In fact, this is the most disappointing.
British-based director Selma Dimitrievich highlighted recognition of contemporary stories such as WikiLeaks and Chelsea Manning in her program notes, when the dark secrets were finally revealed, it\'s not surprising to describe this disturbing feeling in detail --
We already know what we don\'t know.
Surprisingly, she did not mention the MeToo movement, the pinnacle of public secret exposure, which should shock people, but unfortunately, this is common sense over the years.
This is especially surprising because sexual assault is also the basis for dramatic tensions between the Baroness and the pig.
However, Dimitrijevic missed the action in her notes, which is appropriate in itself --
At the last moment of production, a sticky rhythm, superficial conversations and confusing transitions mask any hint of this so-called threat.
Mackenzie put the adaptation of \"pig\" and Xiao opera in \"Flower Girl --
The rich and elegant Baroness (Yanna McIntosh)
Challenge yourself to turn a young girl who grew up in farm animals into a obedient maid who takes Jean-
Jacques Rousseau\'s 1762 Creed on education and children
The baroness\'s lesson plan is simple: she teaches Emily (Julia Course)
Speak by repeating your work
Appropriate words and phrases (
\"That\'s it, Madam? ”)
Bought her new boots and said Shakespeare to her.
Emily\'s reaction was very good. Of course, the natural ease on the stage made Emily innocent and charming.
But the script seems to suggest that there is a real friendship between the two women, even though their power dynamics are very unstable or there is any real connection through dialogue.
When Mackintosh does not announce the correct pronunciation to Emily from a height, or admonish Emily\'s pig --
Like purr, her gentle moments have an extraordinary air, as if she had fled to another reality, to escape the wounds caused by the marriage we think is unloving and the unattentive husband
She obviously cares about Emily, but never knows that it is this person who cares, not the act of kindness (
The Baroness thinks)
\"Save\" such an unfortunate creature.
You need long enough to think about how serious the show is about its ridiculous plot (
The humor of Pygmalion is traded for Naked Design and formal character dynamics)
Not to mention the testimony of a credible emotional bond.
There is no perceptible character growth (
Except that Emily is slightly more stable in high heels)
The scene of the Baroness and the string of pigs, in short, the sequence of discord --
Interrupted by power outages, dim blue lights, and the mysterious stage business without a coherent meaning.
This is unfortunate because these moments include a major plot point in the first scene, which, if not won, will at least bring the show to its climax.
In fact, the audience is following the two women, not knowing where the relationship is going or why we are interested.
All of this makes the final revelation angry, not as authorized as McKenzie might have intended.
Before the show suddenly ended, we did not have a story about women\'s friendship and feminist anger, but a one-time reference to violent crime.
Frankly, this is a reckless and obscene description of sexual violence.
The talent associated with the Baroness and the pig was shackled by the shortcomings of the script, which was not relaxed by the guidance of Dimitrievich.
This one should be on the ranch.
Carly marga is from Toronto.
The star\'s drama critic and freelance contributor.