An Enjoyable Season Finale
Reviewed by Sookie Mei
The final show of the 2024 season at Port Stanley Festival Theatre (PSFT) is Dan Needles’ The Perils of Persephone, which was originally programmed by the late Simon Joynes in 2020, and then postponed due to Covid. The play, a comedy from the Canadian playwright who brought us the Wingfield series and Ed’s Garage, similarly takes place on a farm in Ontario. It is well-acted and -staged, and Joynes would be proud of the result.
In the show, set in 1989, the Township of Persephone is threatened when a truck that may contain toxic waste crashes into the swamp on the farm of the township reeve, Eldin Currie. It’s about small-town politics, and big-town politics, and truth vs. the importance of maintaining appearances. It’s also about family and history and community, which makes it a good choice for Port.
Staged on a great lived-in 80s kitchen set, the avocado green fridge and wall-mounted rotary-dial phone bring the nostalgia. There’s even one of those hanging brown glass ceiling light shades that everyone had. Eric Bunnell’s set design also makes nice use of the stage for a side porch/doorway, and the farmhouse feeling is complete.
The show is very talky, with mile-a-minute dialogue that never seems to take a breath. Needles has crammed a lot of information and exposition into the script, which at times might be a bit much, especially when it’s all about rural Ontario political machinations. The audience certainly gets an education, for instance learning what a reeve does vs. what a warden does, but we understand that it is important to Eldin, so we go with it.
Most of the actors are quite natural on stage, giving us a realistic portrayal of people living in small-town Ontario, experiencing the events as they occur. Of course, this being a comedy, the situation is heightened, and in a few instances, the acting is more exaggerated and less sincere, which brings this reviewer out of the moment. One imagines that this will be resolved as the run continues.
The cast is well-suited to their roles. We first meet Scott Maudsley as Orval, and he has great energy and a charming sort of “aw, shucks” way about him that is most endearing. Danielle Nicole’s Marj grounds the play as a solid character and equally solid mother and wife in the increasingly chaotic environment. Her down-to-earth manner is a nice focus point for the show. Tim Machin as Eldin seems a bit performative at times when he gestures or looks to the audience, but it smooths out as the play continues, and he develops into a three-dimensional father, husband, and politician. Kira Shuit is a delight as daughter Wendy, with a sweet nature that is genuine and real, and some nice, heartfelt moments. Chris Bancroft, as the truck driver Hinkley, doesn’t have a lot of lines, but he has a great stage presence, and adds a fun element of surprise to the production. Geoff Whynot undertakes the daunting task of an excess of dialogue, mostly political discourse, with aplomb, and the audience enjoys following along with his exploits.
The second act brings in a fresh energy in the form of Skip Fuller, played with verve by Debbie Collins. The character is a firecracker, and Collins delivers, making the spin doctor into a dynamic, feisty, and motivated woman who takes charge of the situation. The actor’s confident manner moves the story forward with liveliness, and her expressive eyes bring a welcome glint of mischief to the role. The audience knows they are in good hands with Collins on stage.
It is nice to see seven people on stage, after a season of mostly three- or four-member casts. There is a nice energy to a larger group, especially one that includes newcomers to the PSFT stage, such as Collins, Shuit, and Whynot.
The action strays into the slapstick a bit, which doesn’t quite suit the show. One ongoing gag where Eldon gets tied up repeatedly in his own phone cord seems a bit overdone, and detracts from the humour of the scene. The direction from Liz Gilroy was less even-handed than in previous shows this season, with a few wobbles, but generally serves the script capably.
The first act flies by, which is a nice change from the usual, and the second act is peppy, as well, which makes for an enjoyable outing.
Surprisingly for a comedy, there are not very many laugh-out-loud moments. It is more of a situational comedy, with the humour arising from the circumstances that the characters experience. But overall, the audience is engaged, entertained, and even clapping along with some of the between-scene music. It’s a jovial atmosphere, with the audience breaking into snickers as one audience member loudly pronounces that the Jello portions being served on stage are pretty small! The cast is to be commended for keeping a straight face in that instance.
The Perils of Persephone is a well-done production that makes the most of a less-than-stellar script. The cast works well together to present the story, and the show ends up being amusing and entertaining, despite the focus on rural Canadian politics that might otherwise be a bore.
One audience member described the show as “an enjoyable piece of non-consequential drama,” which is an apt descriptor. The events of the play unfold, and then they are wrapped up, and everyone leaves happy. What more could you ask for on a summer night in Port Stanley?
The Perils Of Persephone continues at the Port Stanley Festival Theatre (PSFT) until September 14th. Tickets are available at the PSFT box office at 519-782-4353 or 1-855-782-4353, or visit https://psft.ca.
The Perils of Persephone
Written by Dan Needles
Directed by Liz Gilroy
Stage Managed by Meghan Specht
Set Design by Eric Bunnell
Lighting Design by Karen Crichton
Costume Design by Alex Amini
Starring: Chris Bancroft, Debbie Collins. Tim Machin, Scott Maudsley, Danielle Nicole, Kira Shuit, and Geoff Whynot
Port Stanley Festival Theatre, Bridge Street, Port Stanley
August 28 to September 14, 2024
Reviewed by Sookie Mei