REVIEW: Casey and Diana at the Stratford Festival
iPhoto caption: Photo by Cylla von Tiedemann
“AIDS is not the antagonist of this play,” Andrew Kushnir writes in his incendiary director’s note for the rending world premiere of Casey and Diana at the Stratford Festival.
And he’s right: in a play sculpted around the ticking clock of hospice care for men with AIDS, it’s not the illness itself that wields such power against the patients about to die. It’s that more complicated enemy of circumstance — of a timer about to ding.
And ding it does.
Casey and Diana is extraordinary, punching well above its weight in a limited three-week run at this year’s Stratford Festival. From Nick Green’s ravishing script to Kushnir’s sensitive-yet-spurring direction to a perfectly calibrated cast, Casey and Diana should top the list for artistic directors in Toronto (and New York) planning their next seasons.
The premise is almost seductively simple, if “terribly, terribly sad,” in the wrenching words of our frequent narrator, Thomas (Sean Arbuckle), who has spent the last five months waiting to die in Casey House, the first hospice in Canada designed for men dying of HIV/AIDS. It’s 1991, and Casey House is expecting a visit in one week from Princess Diana (Krystin Pellerin). She’s going to visit every resident, and she’s going to hold their hands.
That is, if they live that long.
It’s a tough, exhausting story that could easily settle into melodrama or sentimentalism — but it never does. The community inside Casey House is dysfunctional in its own, emotionally wrought way, but there’s humour, too, lots of it. There’s Vera (Sophia Walker), the competent nurse outlined in sharp edges and firm boundaries, and Marjorie (Linda Kash), a volunteer whose cheerfulness often clashes with the ugly realities of palliative care. Then there’s Andre (Davinder Malhi), Thomas’ much younger roommate, who swims in his sweaters and spends his days haunted by the past.
Eventually, we meet Thomas’ sister Pauline (Laura Condlln), who’s abrasive and neurotic and a little too comfortable hurling therapy-speak at the people she’s hurt — but she’s hurting too, we learn, when Thomas finally agrees to speak with her after a terrible cold war of estrangement.
Casey and Diana masterfully binds together small subplots to give the audience a sense of the community behind the headlines — the funny digs at obnoxious nurses, the frightening episodes of “sundowning,” the candles lit in memory of residents who die. Princess Diana, while played by Pellerin with total respect and compassion for the real person, isn’t a central character in this play — she’s more of a motif, a physical embodiment of the things Thomas wants but can’t have, a ghost to shepherd other ghosts. Green wisely avoids breathing false life into Princess Di, and expends that energy elsewhere, giving us tantalizing glimpses into Thomas’ youth, Andre’s family, Marjorie’s grief.
Sean Arbuckle’s Thomas deserves bigger stages — it’s a performance destined for history books, bringing to life all of Thomas’ rage, and love, and rot, and hope. One of Thomas’ monologues might as well be this generation’s “to be or not to be,” given its poignant meditations on life, death, and the frightening in-between. There’s much we don’t know about Thomas, but in Arbuckle’s performance it doesn’t matter: the character seeps all the way down to his bones.
Kash as Marjorie has a difficult job in keeping a flighty character grounded in the never-ending, sky-high stakes of Casey House. She achieves that and more, squeezing out heartache time and again with endearing poise. Vera’s a tough nut to crack, but Walker’s up to the task, and a monologue in the play’s second act brings to light all of her complexities and sorrows. Malhi’s Andre fills in the gaps left by Green’s at times ambiguous playwriting, pushing a rich inner life to the surface.
It’s Condlln’s Pauline who perhaps enjoys the most linear of emotional journeys in Casey and Diana, a grieving sister who doesn’t yet seem to understand the persistence and inevitability of AIDS. As the play evolves and matures, so does she, and Condlln’s performance is note-perfect, capturing every layer of a woman doomed to be an only child once more.
Joshua Quinlan’s set, and even more so his scrumptious costumes, even further suggest the world of Casey House, a universe of pajamas and quilts — and Princess Di’s suits and gowns are spot-on, too. Debashis Sinha’s music and sound design takes that work even further, suggesting not only the outer skin of these dying men but their inner psyches, too. Louise Guinand’s lighting design tops off the whole visual affair, never overshadowing the artistic genius of the people holding the pen and acting their hearts out.
All this brilliance is tied together in a pristine white bow by Kushnir, whose directorial prowess cannot be overstated. Without spoilers, the play’s final image provoked a chorus of audience sniffles on opening night, complementing Green’s writing and securing Casey and Diana as a crown jewel of the Stratford Festival. There’s no doubt in my mind that this play will come back in some capacity for Toronto audiences and beyond — but you’re doing yourself a disservice if you miss this world premiere in all its Kleenex-demanding glory.
Casey and Diana runs at the Stratford Festival until June 17. Tickets are available here.
Intermission reviews are independent and unrelated to Intermission’s partnered content. Learn more about Intermission’s partnership model here.
Aisling Murphy
Aisling is Intermission's senior editor and an award-winning arts journalist with bylines including the New York Times, Toronto Star, Globe & Mail, CBC Arts, and Maclean's. She likes British playwright Sarah Kane, most songs by Taylor Swift, and her cats, Fig and June. She was a 2024 fellow at the National Critics Institute in Waterford, CT.
LEARN MORE
iPhoto caption: The Lion King production still by Matthew Murphy/Disney.
REVIEW: The Lion King offers audiences a cat’s-eye view of sensory delights
Twenty years after The Lion King’s last open-ended Toronto run, Julie Taymor’s directorial and design concepts remain Pride Rock-solid, spilling out from the stage into aisles, balconies, and above the crowd.
iPhoto caption: A Case for the Existence of God production still by Cylla von Tiedemann.
REVIEW: A Case for the Existence of God makes meaning of platonic intimacy
The play’s urgency and strength come from the gentle way it presents male vulnerability and platonic intimacy — for lack of which men may burn themselves, or the rest of us, to the ground.
iPhoto caption: Photo by Mathieu Taillardas.
REVIEW: Feu Mr. Feydeau! takes charming liberties with a famous playwright’s life
Feu Mr. Feydeau! is an effortlessly enjoyable historical fantasy that takes on death, the creative act, and life's bittersweet disappointments.
iPhoto caption: Dead Broke production still by Calvin Petersen.
REVIEW: Comedy-horror hybrid Dead Broke successfully spooks
While the non-horror aspects of the show lean towards the more amateur, the scares are incredibly successful. This show pulls off the theatrical horror with seeming ease: That’s reason enough to check it out for yourself.
iPhoto caption: What the Constitution Means to Me production still by Dahlia Katz.
REVIEW: What the Constitution Means to Me froths with urgency
Despite the surprisingly intimate nature of the material, I found myself more impressed than moved by this show. It’s one of those pieces that slowly reveals itself as theatrical premises strip away, and perhaps it’s the extra layers of distance and biography that for me kept the material at an emotional distance.
iPhoto caption: Playing Shylock production still by Dahlia Katz.
REVIEW: In Playing Shylock, Saul Rubinek asks: ‘Am I Jewish enough yet?’
Theatre is consistently poised on a precipice where we worry that things will shut down because people care too little, or things will shut down because people care too much. In the nexus between those two states sits Saul Rubinek, espousing the fervent hope that theatre will, instead, teach us to care for each other.
iPhoto caption: Aurora Browne for Intermission Magazine. Photo by Dahlia Katz.
“It’s a joy just to be in the room with a bunch of people,” says Browne, who returns to the stage this fall in The Bidding War at Crow’s Theatre. “I love working. I love theatre. I love the whole process. I love being at the read. I love the coffee and the rehearsal. I love the smell of the theatre. I love the feeling of opening night.”
iPhoto caption: J. Kelly Nestruck headshot courtesy of The Globe and Mail.
An exit interview with Globe and Mail theatre critic J. Kelly Nestruck
J. Kelly Nestruck has left the building. (Or at least the aisle seat.)
iPhoto caption: Photo of Annemieke Wade courtesy of TAPA.
TAPA appoints Annemieke Wade as new executive director
Wade steps into the position with an extensive background in theatre, with past roles including executive director of Roseneath Theatre and Theatre Direct and company manager of Tarragon Theatre.
iPhoto caption: Beowulf in Afghanistan graphic courtesy of GCTC.
Beowulf in Afghanistan to make world premiere at GCTC
As part of its 50th anniversary season, Ottawa’s Great Canadian Theatre Company will program the world premiere of Laurie Fyffe’s Beowulf in Afghanistan, in a production directed by Company of Fools artistic director Kate Smith.
iPhoto caption: My Name Is Lucy Barton production still by Dahlia Katz.
REVIEW: Maev Beaty sparkles at the centre of a sparse My Name Is Lucy Barton
In Rona Munro’s adaptation, My Name Is Lucy Barton loses some bite; it’s debatable how well the idea works as a piece of theatre. That said, Beaty gleams in a rousing solo performance that showcases her range and emotional depth.
iPhoto caption: Interior Design production still by Jae Yang.
REVIEW: Interior Design sparkles with zillennial wit
Interior Design watches its Peloton-using, social media-obsessed heroines from an empathetic vantage point, holding space for these women and their problems.
UnCovered returns to Musical Stage Company with U2 and the Rolling Stones
“What you see in the audience is really the tip of a very long collaborative iceberg,” says Wong, artistic associate at Musical Stage Company and arranger, orchestrator, and music supervisor for UnCovered. “It’s a really diverse cast of voices and styles, and they’re all bringing their A-game. It’s starting to get really exciting in the room.”
Comments