I was completely privileged to get a sneak peek of this show in their previews, thanks to the generosity of director Sarah Garton Stanley. I feel truly fortunate to have been able to see it, as the company as a whole, and in particular Laura Olafson and Catherine Wreford, share in this production some of the most beautifully subtle work I have seen in a long time.
The story centres around Alison in three stages of her life, and her own understanding of her sexuality, her childhood, and her relationship with her father. This isn’t your typical musical fare, delving into the darkness of her father’s repressed sexuality, while she is grappling with her own feelings and learning how to express them. Laura Olafson plays Alison’s mom, and is heartbreaking as she fights to keep her children happy and family together. And Wreford is undeniable in her song Telephone Wire, where she wrestles with trying to talk to her father about her sexuality and his response.
Director Sarah Garton Stanley steers an excellent pace, manipulating the twists and turns in the story to full emotional effect for the audience, the highs and lows working in perfect balance to one another. There is a sense of breath throughout the production, yet it surges forward at an urgent pace. This is complemented by Hugh Conacher’s stunning lighting design.
I’m told the rest of the run is sold out, and this cast and crew so deserve that. I’m thrilled to see Winnipeg audiences embracing such a beautiful and challenging piece of theatre.