REVIEW: Guild Festival Theatre’s eerie Isle of Demons reverberates with hope and resilience
iPhoto caption: Photo by Raph Nogal.
If you were marooned on an island, what would you do first: search for food or water? Maybe find shelter?
And what if that island is reportedly a place where demons walk freely within the human realm? Robert Chafe’s Isle of Demons brings the haunting true story of Marguerite de La Rocque’s banishment to the stage, a befitting play for the ruin-like architecture of Guild Park. Directed by Guild Festival Theatre co-artistic director Tyler J. Seguin, Isle of Demons is a chilling tale of resilience and hope against forces both of and beyond this world.
Set during the height of transatlantic exploration, Isle of Demons takes us on a voyage from the harbours of France to St. John’s, Newfoundland, before reaching the fated Isle of Demons. Marguerite has been orphaned and is now in the care of her uncle, a wealthy nobleman who has been tasked with joining Jacques Cartier to establish a French colony in the New World.
As Marguerite waits to join Jacques on his voyage, she encounters Eugene, an old flame whom she hasn’t seen in a decade. Immediately passions run high, and the two are frequently together both on the ship and in St. John’s. Displeased at his niece’s indecent behaviour, Jean Francois decides to maroon the lovers, along with Marguerite’s handmaid Damienne, upon the Isle of Demons. Left with only a gun, some seeds, and few other provisions, the three must attempt to survive the harsh conditions of an island that initially appears uninhabited. Despite harsh weather and illness, Marguerite never loses hope that one day she’ll see sails of rescue on the horizon.
Then there are the beasts! Through Adam Walter and Ashley Naomi Skye’s lighting and sound design, the danger of these creatures is keenly felt by character and audience alike, though they’re never fully seen on stage. The growls and footsteps which seem to be surrounding the playing space makes for a spine-chilling atmosphere. There were several times when I jumped or checked over my shoulder, just to be sure there wasn’t something there. However, upon reflection you realize that these so-called demons are likely polar bears, or maybe a moose or two. So while the potential for danger is very real, it’s not as otherworldly as the characters suppose.
Kiera Publicover and Josh Johnston make their Guild Festival Theatre debuts as Marguerite and Eugene. Publicover gives a nuanced, captivating turn as Marguerite; her character’s emotional transformation, despite her outward stubbornness, is beautifully translated by Publicover. Johnston’s Eugene is kind and reliable, a true gentleman despite the situations he’s been thrown into. Joining them on stage is Guild Festival Theatre’s other co-artistic director Helen Juvonen as Damienne. Juvonen offers a complex, remarkable Damienne, acting as the moral compass and level head of the trio. Johnston and Juvonen also make for formidable and terrifying spirits, particularly at the end of the play; they sent shivers down my spine on multiple occasions. The dynamics between these characters are clear from the first scene to the last — a hallmark of great storytelling.
Isle of Demons is a superb way to spend a summer’s evening: with the stunning backdrop of Guild Park, and the breeze picking up as if on cue, it’s the ideal venue and time of year for such an eerie tale.
Isle of Demons runs at Guild Park until August 25. Tickets are available here.
Intermission reviews are independent and unrelated to Intermission’s partnered content. Learn more about Intermission’s partnership model here.
Janine Marley
Janine Marley is an independent theatre reviewer born in Kingsville, Ontario and has been a Torontonian since November 2020. She holds Honours BA and MA Degrees from the University of Windsor in English Language and Literature with her studies primarily focused on theatre. She began acting at a young age and continued acting in productions until 2018. She started her blog, A View from the Box, as a personal project to share her passion for theatre.
LEARN MORE
iPhoto caption: Photo by Johan Persson.
REVIEW: Life of Pi gleams with unforgettable puppets
Based on the beloved novel by Yann Martel, the exquisite touring production uses puppets as its vocabulary, asking complex questions about storytelling and the power of imagination.
iPhoto caption: Photo by Elana Emer.
REVIEW: Infinite Life thrums with meditations on chronic illness and pain
Director Jackie Maxwell’s production at Coal Mine Theatre, featuring six generous, empathetic performances, is a paean of understanding for the chronically ill, candidly examining the despair and fury of bodily helplessness in a way that’s magnified by our proximity to the characters in the intimate space.
iPhoto caption: Photo by Dahlia Katz.
REVIEW: In Rosmersholm, ghosts abound
While the play’s ideas sizzle and pop with contemporary verve, the story’s an occasionally frustrating vessel for those captivating sentiments on politics and identity.
iPhoto caption: Photo by Dahlia Katz
REVIEW: 1s1 Theatre’s Qalb marries autobiography with ASL poetry
Since much of Qalb is about distance — between mind and heart, justice and reality, me and you — it’s a powerful statement of hope to conclude with the bridging of a gap.
iPhoto caption: Photo courtesy of Theatre Calgary.
REVIEW: The Play That Goes Wrong dazzles at Theatre Calgary
The Play That Goes Wrong is a sparking-flaming-smoking car crash that you just can’t take your eyes off of. A fiery, racing delight, this is not a production to be missed.
iPhoto caption: Photo by Rick Clifford
REVIEWS: Toronto International Film Festival 2024
A filmed production of an experimental Egyptian opera, a TV series penned by Jordan Tannahill, and the moviemaking debut of Broadway director Marianne Elliott are among the offerings at this year’s TIFF with connections to the world of theatre.
iPhoto caption: Lakefront production still courtesy of Lighthouse Festival Theatre.
REVIEW: Sparks fly in Norm Foster’s uproarious Lakefront
In its world premiere at Lighthouse Festival Theatre, Lakefront is not only a love letter to Canada, but also a love letter to love.
iPhoto caption: Photo courtesy of Lighthouse Theatre Festival.
REVIEW: Doris and Ivy in the Home explores aging with heart and humour
Norm Foster’s Doris and Ivy in the Home, directed by Jane Spence, is an exploration of friendship, love, and intimacy amidst the inevitable process of aging.
iPhoto caption: Photo by Raph Nogal.
REVIEW: The Drowning Girls at Guild Festival Theatre
A perfect start to #spookyszn, this incredible story will send shivers down your spine.
REVIEW: The Ballad of Stompin’ Tom at Capitol Theatre Port Hope
Whether you’re a lifelong fan or new to Tom Connors’ music, you’re likely to love The Ballad of Stompin’ Tom. It’s a perfect blend of story and music that tells the tale of one of Canada’s heroes.
Comments