REVIEW: Outside the March’s Performance Review is claustrophobic for all the right reasons
iPhoto caption: Photo by Dahlia Katz.
“Excited to be a part of something.” That’s what an enthusiastic, 18-year-old Rosamund Small wrote on her resume. It’s also what I felt walking into Morning Parade Coffee Bar in the west end, being one of 30 people to watch Performance Review that evening.
In this autobiographical solo show, Small takes us through seven cheekily titled chapters detailing seven jobs she’s had in her career. Performance Review is a saga of her worst professional experiences, from Toronto to Los Angeles to England.
The fourth wall is not broken in this 90-minute play — it was never there to begin with. The performance eases in with Small making her way around the communal tables, clearing dishes and chatting up the audience. In the program, we learn that Small, an experienced playwright, is not only bravely performing in a show she wrote about her own life, but also acting in a play for the first time since high school. Small tucks that bravery into her apron and carries it with her throughout the performance.
It’s up close and personal, with lots of eye contact and sometimes only inches of distance between Small and the audience. Director Mitchell Cushman, assisted by Keavy Lynch, ensures that every square centimetre of the cafe is explored.
Small crams in between tables and climbs countertops. The lack of distance feels significant in the context of her story. Not only does Small continually have her space invaded by colleagues, which I felt heavily as an audience member when it was reenacted in such close proximity, but she exudes a deep and at times desperate desire to connect to the people around her. It’s not a show for the claustrophobic, but if you’re down to give up some elbow room for a night of charismatically confessional storytelling, it’s worth the squeeze.
Outside the March, known for its immersive productions, doesn’t miss any opportunity to fully integrate the show into every nook of Morning Parade. Production designer Anahita Dehbonehie keeps the warm cafe atmosphere intact, cleverly concealing the lighting design in the space. A shelf above the bar is lined with seven bell jars, each holding a miniature object that corresponds to a chapter of the show. At one point, the steam from the espresso machine is made to signify a train, which is absolutely joyous. Heidi Chan’s sound design is also slyly fused into the space, and skilfully managed by stage manager Dylan Tate-Howarth.
Though this is not openly referenced, I felt a connection between Small’s story and Sylvia Plath’s novel The Bell Jar when looking at the cases along the shelf. Performance Review, too, tells the story of a woman experiencing mental health issues under societal pressures. The bell jars, aside from resembling cafe treat display cases, seem to represent an underlying theme in this narrative: the illusion of protection in the workplace. At the age of 18, Small got her first job at Second Cup during a gap year, finding comfort in structure and the opportunity to postpone university. Keeping her hands busy gives her purpose, a “superpower,” as she calls it, and prevents her from giving into intrusive impulsions.
As Small takes us through the seven chapters, it becomes clear that a job does not equal safety. Predation is present in every work setting she enters. She is forced to navigate abuse from her employers and coworkers, whether it be inappropriate so-called jokes or physical assault. In working as a writer, as she does in many of her jobs, she reveals how the entertainment industry is rife with misconduct. Small handles the sensitive content with care, power, and purpose on her own terms.
What’s most striking about Small’s performance is her subtle shifts in demeanour as she ages with each chapter. You can visibly see her growth in confidence and self-assurance, manifesting in her posture, tone of voice, and even how she chooses to sit. It’s compelling to watch Small mature in real time, learning the hard way the importance of asserting yourself, especially as a woman in the arts.
Much like Small, many of us enter the theatre world with a desire to be a part of something. It’s remarkable when you get to access that experience from the audience. The immersive setting as well as Small’s unabashed directness and sincerity bring this feeling within reach. Performance Review serves you a hot cup of belonging with some whipped intimacy and a generous drizzle of comedy. If you’re able to afford a ticket to one of the few remaining shows, know that it’s worth every sip.
Performance Review runs at Morning Parade Coffee Bar until March 30. Tickets are available here.
Intermission reviews are independent and unrelated to Intermission’s partnered content. Learn more about Intermission’s partnership model here.
Gus Lederman
Gus Lederman (they/he) is a writer and performer in Tkaronto. Currently, they’re in their last semester of OCAD University’s Creative Writing program, where they were Editor-in-Chief of the first edition of the student literary journal, Pulse. Gus participated in the 2024 New Young Reviewers Program with Toronto Fringe, and has since written for Canopy Magazine. They enjoy composing original music, writing plays, and are passionate about climate justice, trans-ness, and puppetry.
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