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Vampires, Ghosts, and Theatre Critics: St. Nicholas and The Turn of the Screw

Two different plays, each with a tinge of the supernatural, are enjoying runs in non-traditional venues in Ottawa right now. Cube Gallery is playing host to John Koensgen’s one-man St. Nicholas, and Laurier House is the site of The Turn of the Screw, presented by the aptly-named Screwdriver Collective. Just about everyone I’ve talked to who has seen them has had high praise for each, and I would agree that they’re both worth seeing, although entirely different offerings.

St. Nicholas is one of Irish playwright Conor McPherson’s earlier plays; in this performance, John Koensgen takes on the role of a stereotypically alcoholic theatre critic who spins the audience his winding tale of lusting after a young actress and then falling in with “the wrong crowd”—in this case, vampires. The narrative is a mix of the satirical (taking square aim at theatre critics; this was especially appropriate on opening night, when at least a quarter of the audience was composed of theatre critics of one stripe or another) and the fantastic. A balance somewhere near reality is achieved by exaggerating the everyday and understating the supernatural.
Overall, I enjoyed the performance, particularly the performer-controlled lighting, and the use of the entire space of the gallery for very effective entrances and exits. The one thing that keeps me from saying I enjoyed it completely was the characterization, which seemed forced at times. For example, the character’s educated, erudite speech lapses frequently into vulgarity; rather than “throw away” (downplay) these lines, they are emphasized. Although funny at first, the effect was somewhat jarring. Two or three excursions into another level of story in the second half are so excellently done, however, that they redeem the rest of the performance. I only wish I had seen John Koensgen’s previous performance of St. Nicholas at the Great Canadian Theatre Company in 2002, so that I would have a point of reference to gauge the evolution of his interpretation of the role.

This past summer, on my first visit to Laurier House, I remarked how it reminded me of an Edward Gorey drawing, a moment of Gothic horror frozen in time.
And that was during the day.
The Screwdriver Collective has brought Henry James’s Victorian ghost story The Turn of the Screw to life (if you’ll pardon the expression) in the dark halls of Laurier House; already allegedly haunted.
The screw, as it were, has been given two additional turns; the first, by playwright Jeffrey Hatcher, bringing to the fore an element of sexual tension and seasoning the text with Biblical reference; the second, by director Patrick Gauthier in adapting it to this unusual setting and highlighting the humour of the text.
In the role of the Governess, whose personal account of her days in the charge of two mysterious children at a house called Bly in the English countryside she is re-enacting, Kate Smith flies from hopeful innocence through resolute passion, abject terror, and finally descends into complete madness. By her second line, she is fully believable in her role. Kris Joseph narrates, plays every supporting role, and even provides occasional sound effects. Astonishingly, he is every bit as believable as a middle-aged housekeeper as a ten-year-old boy, and with clever use of the space, there is clear separation between characters and scenes. All this is accomplished without a single prop or any scenery beyond the house and the lighting.
The lighting design by Guillaume Houet (Blackbird, Third Wall) is crucial to the success of this piece, and a marvelous example of how much can be done with very little. Every angle is used to its utmost advantage, throwing the features of the actors into ghastly relief.
To call the Laurier House venue “intimate” would be an understatement; the seating is very close, and the heat oppressive (this may not be such a bad thing in light of this week’s weather conditions, but dressing lightly is recommended). This, however, adds to, rather than detracts from, the performance; one is not meant to be at all comfortable watching The Turn of the Screw.

Ottawa is lucky to have two local theatre companies mount productions like these in intimate settings for a very reasonable ticket price. With limited seating in both locations, it would be wise to book ahead.

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St. Nicholas (remaining dates)
November 2, 3, 4, 5, 6th
Doors: 7:30pm; Curtain: 8:00pm (Thursday, November 4th only, curtain is at 9:00pm)
Tickets available via Cube Gallery

The Turn of the Screw (remaining dates)
November 3, 4, 5, 6, 7th
Doors: 7:30pm; Curtain: 8:00pm
Tickets available via The Turn of the Screw website

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Lambs

WARNING:
This video contains images of deceased children. If you think you might be negatively affected, please do not watch this video.

In the 19th century it was common for a family to hire a photographer to capture images of recently deceased family members. This practice was especially common for infants and young children and the resulting photograph was often the only one the parents ever had of their child.

I have always been drawn to cemeteries. I have always found the graves of children that are marked with lambs to be particularly touching.

This short film by Ottawa video artist Mike Thompson merges a type of photography that is all but forgotten with the remaining stone markers that have lasted to modern times. Many of these children lived for such a short time so long ago that memories of them have faded into history.

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