REVIEW: The Birds at Bygone Theatre/Hart House
No, not The Birds by Aristophanes, or If We Were Birds by Erin Shields.
No, this here’s The Birds, as in the Alfred Hitchcock film and Daphne du Maurier stories. In a limber adaptation by Emily Dix (who also directs and designs), we watch socialite Daphne succumb to the ever-so-creepy uncertainties of a rural cabin, awaiting a lover who might never show while placating an erratic, elusive brother. Dix, in writing, design and direction has very much preserved Hitchcock’s pacing and atmosphere, and her cast’s quite good, too, particularly Anna Douglas as Daphne.
But Hart House Theatre is a cave, and not in the cool, studded-with-interesting-rocks way. This production of The Birds isn’t served by its venue. Some of Dix’s writing gets lost to a bouncy acoustic, and some of the production’s visuals get swallowed by a too-large-for-this-project auditorium. It’s a tough space to wrangle into usability, and The Birds isn’t the first project that’s felt out of place in a venue whose origin as a Little Theatre Movement flagship feels painfully obvious in 2022.
But once you get past the architectural limitations of Hart House, The Birds proves itself a fully capable, often enjoyable pastiche of Hitchcock and du Maurier. Dix has a clear reverence for her source material, weaving in cheeky allusions to the Hitchcockian opus and its carousel of tropes. Dix is a damn good costume designer too — of her many hats, it’s the one she perhaps wears best in this visually lovely production, in total harmony with Wes Babcock’s set and lights.
Douglas is a compelling Daphne, appropriately clueless to the goings-on around her, and often funny as the socialite-out-of-water faced with the consequences of her own foolish choices. (She too nails the mid-atlantic accent: in no way does it sound real, but then again, even in the movies it never was meant to approximate real-life speech cadences, was it?) Alex Clay as Daphne’s brother, David, keeps his menacing intentions subtle, making the show’s second half’s payoff all the more sublime. Oliver Georgiou, Kiera Publicover and Chad Allen complete the cast well, particularly Georgiou’s slimy, mysterious take on Daphne’s ex-lover Mitch.
The birdiness of it all has been handled deftly by Dix and her team — to save a spoiler, no, one doesn’t get the sense a budget line has been dedicated to fake feathers. In the absence of real, physical birds, are fleeting (or is it tweeting?) avian references and sneaky nicknames: smart move on Dix’s part.
All in all, The Birds accomplishes quite a bit in two or so hours, paying masterful homage to a highly specific filmic tradition and massaging complex performances from a formidable cast. Hart House robs the production of what might take it over the edge from good to great — a more intimate space might have made the “thriller” aspect of the project feel more immediate — but Dix and her team have an appealing product here, and no, it’s not just for film buffs.
The Birds runs at Hart House Theatre through December 10. Tickets are available 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: Photo by Dahlia Katz.
REVIEW: Canadian Stage revives the Ross Petty panto with pop songs, puns, and a pinch of Ozdust
Making a case for the panto’s return, The Wizard of Oz is full of local references and charm, and perhaps even some surprise guests to fill audiences with hometown pride.
iPhoto caption: Photo by Marie-Andree Lemire.
REVIEW: Titaníque loves Céline Dion with all its heart
Content quibbles aside, Titaníque’s inarguable accomplishment is musical: What an amazing showcase for a Canadian cast’s vocal chops and capacity to deliver character through song.
iPhoto caption: Photo by Ben Laird.
REVIEW: Twelve Days brings Christmas joy to lunchtime in Calgary
Watching Twelve Days is reminiscent of opening up the door to a chocolate advent calendar: yes, you know what you’re gonna get, but heck if you don’t enjoy every second of it.
iPhoto caption: Production still by Dahlia Katz.
REVIEW: The Sound of Music is enchanting at London’s Grand Theatre
Even after an umpteenth viewing of Richard Rodgers and Oscar Hammerstein’s classic, the material still feels fresh under Rachel Peake’s direction.
iPhoto caption: Madame Minister production still by Dahlia Katz.
REVIEW: Madame Minister is a star vehicle for actor Laura Condlln
Laura Condlln and Cyrus Lane offer performances that are worth the drive to Barrie — the two have terrific chemistry and timing.
iPhoto caption: Photo by Roya DelSol.
REVIEW: Tarragon’s Craze lacks focus — that’s what makes it fun
A frenzied test of endurance, Craze whips along like a social media feed on steroids, sprinting from image to image with wild, masculine bravado.
iPhoto caption: Madame Minister production still by Dahlia Katz.
REVIEW: Madame Minister is a star vehicle for actor Laura Condlln
Laura Condlln and Cyrus Lane offer performances that are worth the drive to Barrie — the two have terrific chemistry and timing.
iPhoto caption: Production still courtesy of The Bee's Knees.
REVIEW: The Bee’s Knees falls short of its timely premise
The Bee’s Knees might evolve into a stronger project down the line, but at present, the play and production feel swept away by the spangled allure of the 1920s setting.
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.
Comments