REVIEW: Guild Festival Theatre’s eerie Isle of Demons reverberates with hope and resilience

iPhoto caption: Photo by Raph Nogal.

Reviews

/By Janine Marley / Aug 13, 2024

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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.

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Isle of Demons runs at Guild Park until August 25. Tickets are available here.

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Intermission reviews are independent and unrelated to Intermission’s partnered content. Learn more about Intermission’s partnership model here.

WRITTEN BY

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.

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